Journal articles: 'Bela Bartok'

1

Jellinek, G. "Bluebeard's Castle. Bela Bartok." Opera Quarterly 15, no. 1 (January 1, 1999): 165–66. http://dx.doi.org/10.1093/oq/15.1.165.

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Graeme, R. "Bluebeard's Castle. Bela Bartok." Opera Quarterly 20, no. 2 (April 1, 2004): 335–38. http://dx.doi.org/10.1093/oq/kbh050.

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Pettan, Svanibor, and Benjamin Suchoff. "Bela Bartok Studies in Ethnomusicology." Yearbook for Traditional Music 31 (1999): 126. http://dx.doi.org/10.2307/767977.

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Somfai, Laszlo, and Paul Wilson. "The Music of Bela Bartok." Notes 50, no. 1 (September 1993): 151. http://dx.doi.org/10.2307/898724.

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Pople, Anthony, and Paul Wilson. "The Music of Bela Bartok." Musical Times 134, no. 1809 (November 1993): 651. http://dx.doi.org/10.2307/1002807.

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Cooper, David, and Paul Wilson. "The Music of Bela Bartok." Music Analysis 13, no. 2/3 (July 1994): 319. http://dx.doi.org/10.2307/854265.

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7

Lampert, Vera, and Elliott Antokoletz. "Bela Bartok: A Guide to Research." Notes 46, no. 4 (June 1990): 949. http://dx.doi.org/10.2307/941268.

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Leafstedt, Carl S., Denijs Dille, and Yves Lenoir. "Bela Bartok: Regard sur le passe." Notes 48, no. 1 (September 1991): 98. http://dx.doi.org/10.2307/941790.

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Schneider, David E., Tibor Tallian, Gyula Gulyas, and Malcolm Gillies. "Bela Bartok: The Man and His Work." Notes 48, no. 3 (March 1992): 880. http://dx.doi.org/10.2307/941711.

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Antokoletz, Elliott, and Laszlo Somfai. "Bela Bartok: Composition, Concepts, and Autograph Sources." Notes 53, no. 4 (June 1997): 1140. http://dx.doi.org/10.2307/899459.

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GÖK, Emre, and İsmet DOĞAN. "COMPILATION WORKS OF BELA BARTOK IN ANATOLIA." Zeitschrift für die Welt der Türken / Journal of World of Turks 14, no. 2 (August 15, 2022): 113–30. http://dx.doi.org/10.46291/zfwt/140206.

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Composer and ethnomusicologist Bela Bartok, who came to Turkey in 1936 in order to hold conferences and studies on Turkish folk music, researched.both the relationship between Turkish folk music and Hungarian folk melodies and the roots of the similarities between the music of the two countries, which are thought to come from the same root and got interesting and valuable information. He made field studies in certain regions of Turkey, compiled the folk songs in the areas he worked, notated the songs which he compiled and then classified these folk songs. In addition to her field work, she also worked with important musicians such as Ahmet Adnan Saygun, Necil Kazım Akses, Ulvi Cemal Erkin, whom we know as Turkish fives today. Throughout all his studies in Anatolia, he said that there were both similarities and differences between Turkish and Hungarian folk music, but he argued that the two musical cultures emerged from the same root. One of the most important theses he defended was that he said that Hungarian music culture was a clear Turkish music culture and that the motifs in Turkish melodies were seen in Hungarian music. Keywords: Bela Bartok, Turkish folk music, Hungarian folk music, Cultural transfers and similarities, Pentatonic

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12

Bayley, Amanda, and Laszlo Somfai. "Bela Bartok. Composition, Concepts, and Autograph Sources." Music Analysis 17, no. 1 (March 1998): 97. http://dx.doi.org/10.2307/854374.

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Fosler-Lussier, Danielle, and Judit Frigyesi. "Bela Bartok and Turn-of-the-Century Budapest." Notes 55, no. 3 (March 1999): 676. http://dx.doi.org/10.2307/900437.

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Beller, Steven, and Judit Frigyesi. "Bela Bartok and Turn-of-the-Century Budapest." American Historical Review 104, no. 4 (October 1999): 1411. http://dx.doi.org/10.2307/2649747.

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Frigyesi, Judit. "Bela Bartok: Composition, Concepts, and Autograph Sources . Laszlo Somfai ." Journal of the American Musicological Society 52, no. 2 (July 1999): 388–98. http://dx.doi.org/10.1525/jams.1999.52.2.03a00070.

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Leafstedt, C. "Asheville, Winter of 1943-44: Bela Bartok and North Carolina." Musical Quarterly 87, no. 2 (June 1, 2004): 219–58. http://dx.doi.org/10.1093/musqtl/gdh011.

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17

Schneider, David E. "Bela Bartok and Turn-of-the-Century Budapest . Judit Frigyesi ." Journal of the American Musicological Society 53, no. 1 (April 2000): 183–91. http://dx.doi.org/10.1525/jams.2000.53.1.03a00090.

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18

Cooper, David. "The Unfolding of Tonality in the Music of Bela Bartok." Music Analysis 17, no. 1 (March 1998): 21. http://dx.doi.org/10.2307/854369.

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19

Abdullaev, Rustambek. "Hungarian folk music in the works Zoltana Kodaya and Bela Bartok." Eurasian music science journal 2018, no. 1 (2018): 27–34. http://dx.doi.org/10.52847/eamsj/vol_2018_issue_1/a4.

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20

KOMENDA, Olha, and Vitalii OKHMANIUK. "BELA BARTOK IN THE LIGHT OF THE UNIVERSAL CREATIVE PERSONALITY THEORY." Humanities science current issues 5, no. 29 (2020): 244–51. http://dx.doi.org/10.24919/2308-4863.5/29.238951.

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21

Spaude-Schulze, Edelgard, and Yves Lenoir. "Folklore et transcendance dans l'oeuvre Americaine de Bela Bartok (1940-1945)." Jahrbuch für Volksliedforschung 33 (1988): 200. http://dx.doi.org/10.2307/847793.

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22

Alten, Michèle. "La découverte de Bela Bartok en France après 1945 : enjeux et controverses." Le Mouvement Social 208, no. 3 (2004): 145. http://dx.doi.org/10.3917/lms.208.0145.

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Alten, Michele. "La decouverte de Bela Bartok en France apres 1945: enjeux et controverses." Le Mouvement social, no. 208 (July 2004): 145. http://dx.doi.org/10.2307/3780280.

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24

Chipman, Abram. "Loneliness and Liberation in the Life and Stage Works of Bela Bartok." Psychoanalytic Review 91, no. 5 (September 2004): 663–81. http://dx.doi.org/10.1521/prev.91.5.663.52052.

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25

Dzizinska, Nataliia. "The Second Violin Consert Of Bela Bartok In The Context Of Genre Development." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 127 (July 8, 2020): 67–82. http://dx.doi.org/10.31318/2522-4190.2020.127.213884.

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26

Wilson, Paul, and Elliott Antokoletz. "The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music." Journal of Music Theory 30, no. 1 (1986): 113. http://dx.doi.org/10.2307/843411.

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27

Hooker, L. "Modernism on the Periphery: Bela Bartok and the New Hungarian Music Society of 1911-1912." Musical Quarterly 88, no. 2 (February 28, 2006): 274–319. http://dx.doi.org/10.1093/musqtl/gdi013.

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Tari, Lujza, Bela Bartok, Zoltan Kodaly, and Katalin Paksa. "Collection of Hungarian Folk Music Established by Bela Bartok and Zoltan Kodaly. 10th Types of Folksongs." Studia Musicologica Academiae Scientiarum Hungaricae 39, no. 2/4 (1998): 443. http://dx.doi.org/10.2307/902547.

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29

Lenoir, Yves. "Le destin des recherches ethnomusicologiques de Bela Bartok a la veille de son sejour aux Etats-Unis." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 42 (1988): 273. http://dx.doi.org/10.2307/3687112.

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30

Toorn, Pieter C. van den. ": The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music . Elliott Antokoletz." Music Theory Spectrum 9, no. 1 (April 1987): 215–22. http://dx.doi.org/10.1525/mts.1987.9.1.02a00130.

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31

Bell-Villada, Gene H. "Pronoun Shifters, Virginia Woolf, Bela Bartok, Plebeian Forms, Real-Life Tyrants, and the Shaping of Garcia Marquez's "Patriarch"." Contemporary Literature 28, no. 4 (1987): 460. http://dx.doi.org/10.2307/1208311.

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32

Bratuz, Damjana, and Yves Lenoir. "Folklore et transcendance dans l'oeuvre americaine de Bela Bartok (1940-1945): Contributions a l'etude de l'activite scientifique et creatrice du compositeur." Notes 49, no. 2 (December 1992): 581. http://dx.doi.org/10.2307/897923.

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Erdely, Stephen, and Yves Lenoir. "Folklore et Transcendance dans L'Oeuvre Americaine de Bela Bartok (1940-1945): Contributions a L'Etude de L'Activite Scientifique et Creatrice du Compositeur." Ethnomusicology 33, no. 3 (1989): 511. http://dx.doi.org/10.2307/851771.

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34

Arad, Atar, and Marcus A. Thompson. "The Thirteen Pages: (notes from a violist's first encounter with the much debated manuscript of the Viola Concerto by Bela Bartok)." American String Teacher 38, no. 1 (February 1988): 83–87. http://dx.doi.org/10.1177/000313138803800138.

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35

Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.

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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.

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Spivakovskyi, Oleksandr. "The Director-Research Concept of Stage Influences of Bela Bartok’s Opera "Duke Bluebeard’s Castle"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 249–51. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251826.

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It was considered the director's approach to modern interpretations of Béla Bartók's opera "Duke Bluebeard's Castle". The research methodology is based on the basic provisions and concepts of musical directing, developed during the twentieth century and supplemented in the process of modern development of musical theater. There were analyzed recent studies of B. Bartok's opera and the work of playwright Béla Balázs. Based on this analysis, the direction of scientific work is clarified, which relates mainly to the intonation nature of the opera "Duke Bluebeard's Castle" and its compositional and dramatic features. The director's research concept of the stage incarnations of B. Bartok's opera opens a perspective for further scientific investigations. The basis on which the study is based is two opera performances in 2020- 2021, created with the participation of the world-renowned Ukrainian artists: Oksana Liniv, director of the opera evening "Judith" at the Bavarian State Opera; Andriy Zholdak, Ukrainian director that staged the play "Duke Bluebeard's Castle" at the Lyon Opera. In the analysis of these opera productions, three main directing principles have been identified, by means of which the material of the opera is actualized, in accordance with today's challenges: these are the principles of supplementing the performance, actualizing of the theme of the performance and visual detailing. There were considered the main fundamental concepts laid down by the authors of the work under study: composer Béla Bartok and libretto by author Béla Balázs, that became the basis for modern directorial interpretations. Emphasis is placed on the director's role in creating a directorial-research concept in the stage embodiment of the opera, which should find a connection between the ideological and artistic content of the opera and modern aspects of world society, which faces current issues of feminism and the role of women in the modern society. The question of gender and its showing on stage is also raised. The director's point of view on these phenomena is reflected in the stage incarnations of the opera "Duke Bluebeard’s Castle", modern productions of which are an indicator of the vector of development of the world music directing in the period 2020-2021. The novelty of the study lies in the selection of the main directing principles of work on the stage realization of B. Bartok's opera "The Duke of Bluebeard" based on the analysis of the productions of this opera in 2020-2021.

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Hill, John. "‘Blurring the lines between fact and fiction’: Ken Russell, the BBC and ‘Television Biography’." Journal of British Cinema and Television 12, no. 4 (October 2015): 452–78. http://dx.doi.org/10.3366/jbctv.2015.0280.

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Working for the BBC arts programmes Monitor and Omnibus during the 1960s, Ken Russell was responsible for a series of biographical films based on the lives of painters and composers. Tracing the development of Russell's work from Prokofiev (1961) and Elgar (1962) through to Bela Bartok (1964) and The Debussy Film (1965), the article examines how Russell's incorporation of elements of drama into the arts documentary generated arguments, both within the BBC and beyond, about the legitimacy of mixing ‘fact’ and ‘fiction’ in such works. These debates focused, in particular, on the use of ‘dramatic reconstruction’ and subjective ‘interpretation’ and the ‘fairness’ of the films’ treatment of the artists and composers with which they dealt. As a result of its unusually explicit representations of sex and violence, Russell's film about the composer Richard Strauss, Dance of the Seven Veils (1970), took these arguments to a new level. Through an examination of the responses that the film generated, the article concludes that, due to the degree to which the programme departed from BBC norms of documentary practice and the related values of ‘impartiality’ and ‘good taste’, it became a work that tested the very limits of what the BBC then considered it possible to transmit.

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38

Kropova, Daria S. "Traits of Mystery (miracle play), Tragedy and Commedia Dell'Arte in a Fairy-Opera-Film." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 76–83. http://dx.doi.org/10.17816/vgik8476-83.

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This article deals with a fairy-opera-film and its specifics. The author reveals traits of mystery (miracle play) in a fairy-opera-film, basing upon a notion of mystery of Carl Orffs theory, in the way as Orff meant it. Syncretism in different kinds of art, specifics of word as an art facility (meaning of a word and a word as sound) are specified. As examples the following films are taken: Bluebeard's Castle (composer Bela Bartok, filmmaker W. Golovin,1968), Iolanta (composer Pyotr Tchaikovsky, filmmaker W. Gorriker,1963) and animated musical The Snow Maiden (composer Nikolai Rimsky-Korsakov, filmmaker I. Ivanow-Vano,1952). Special attention is drawn to the opera film The Queen of Spades (composer Pyotr Tchaikovsky, filmmaker R. Tihomirov,1960). The author discloses in fairy-opera-film elements of commedia dell'arte, that is improvisation and masks. For example in films The Love for three Oranges (composer Sergei Prokofiev, filmmakers W. Titov and J. Bogatyrenko,1970) and The Magic Flute (composer Wolfgang A. Mozart, filmmaker I. Bergman,1975). The author comes to the conclusion concerning the targets and tasks of a fairy-opera-film. Through watching fairy-opera-films children should live cultural and psychological history of humanity step by step in its development through music, dance culture and drama (theater). The main task of fairy-opera-film is to save an entity of a human being, to prevent a childs mutation into either a superman (or bermensch in F. Nietzsches term) or degeneration.

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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.

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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

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Marković, Božidarka, Peter Dovč, Milan Marković, Dušica Radonjić, Mirjana Adakalić, and Mojca Simčič. "Differentiation of some Pramenka sheep breeds based on morphometric characteristics." Archives Animal Breeding 62, no. 2 (July 10, 2019): 393–402. http://dx.doi.org/10.5194/aab-62-393-2019.

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Abstract. For the purpose of the morphometric characterization and differentiation of local sheep breeds that belong to the group of breeds called Pramenka or Zackel, two Slovenian (Bela Krajina and Istrian Pramenka) and four Montenegrin sheep breeds (Bardoka, Sjenička, Pivska Pramenka, and Zeta Žuja) were studied. The variation of morphometric measures and nine morphometric indices were analysed. Principal component analysis (PCA) was applied in order to provide an easier description of body size and shape. Regarding body size, the Sjenička breed was one of the largest breeds (body weight 76.4 kg, wither height 72.7 cm, chest circumference 100.3 cm), while Zeta Žuja had the smallest body size (37.1 kg, 64.8, and 81.9 cm). On the other hand, Slovenian Istrian Pramenka had the largest body length, chest depth, chest width, and rump width among all included breeds (79.4, 33.6, 22.7, and 21.2 cm). Bela Krajina, Istrian Pramenka, and the Sjenička breed, according to the index of body frame (IBF) value (107–114), have a rectangular body frame, Bardoka and Pivska Pramenka have a square body frame (99.3–100), and Zeta Žuja has a short body frame (91.8). The PCA of all morphometric parameters extracted three components accounting for 96.6 % of the cumulative variance. An unweighted pair–group method with arithmetic mean (UPGMA) cluster analysis by Euclidian distance shows diversity among the studied breeds, through it grouped Pivska Pramenka with Sjenička and Istrian with Bela Krajina Pramenka in two clusters, while Bardoka and Zeta Žuja were clustered separately.

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Bastidas España, José Menandro. "La música del sur de Colombia desde la perspectiva de Béla Bartók." Belvedere Meridionale 26, no. 2 (2014): 27–47. http://dx.doi.org/10.14232/belv.2014.2.3.

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Jefferson, Meriel. "Fingers and Thumbs Books 1–3 by John York. Boosey and Hawkes, 1993, £3.50 each. - Play Boogie Duets, Boogie Duets for Beginners by Daryl Runswick. Faber Music, 1993. £4.95 each. - Let's all Play the Ollie Way! by Alison Hedger. Chester Music. 1992. £5.95; cassette, £4.95. - Mikrokosmos Volume 1 by Bela Bartok. Boosey and Hawkes, 1987. Book and CDROM, £12.95. - Abracadabra Piano Books 1–3 arranged by Jane Sebba. A. and C. Black, 1993. £3.99 each. - The Piano Duet Collection edited by Alan Ridout. Kevin Mayhew, 1992. £6.95. - Jazzy Duets by Mike Cornick. Universal Edition. - Blue Piano by Mike Cornick Universal Edition, £3.95." British Journal of Music Education 11, no. 3 (November 1994): 255–57. http://dx.doi.org/10.1017/s0265051700002254.

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Viatra, Aji Windu. "POSTER “HOPE” OBAMA DALAM KOMUNIKASI MASSA." Imaji 17, no. 2 (October 26, 2019): 93–104. http://dx.doi.org/10.21831/imaji.v17i2.22332.

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Komunikasi menjadi hal yang pokok dalam berinteraksi dengan orang lain. Manusia memiliki kebutuhan yang signifikan dalam mengkomunikasikan dirinya terhadap orang lain bahkan dengan mahkluk lainnya. Komunikasi memberikan pengaruh dan peranan yang sangat bermanfaat dalam perkembangan manusia. Saat kita memulai beradaptasi di tempat yang baru, sangat diperlukannya suatu komunikasi yang aktif untuk mengenal budaya di tempat tersebut. Kegiatan ini menjadi hal yang alami, terjadi sesuatu tindakan spontan. Meskipun seringkali menghadapi kesulitan yang kadang kala menjadi suatu pengalaman yang berharga. Media-media komunikasi yang dipakai dalam menyampaikan pesan oleh komunikator dan diterima oleh komunikan memiliki fungsi dan manfaat yang variatif dan efesien. Proses komunikasi yang melibatkan suatu media juga seringkali memberikan suatu pemahaman yang berbeda-beda yang diterima oleh komunikan, banyak faktor yang mempengaruhi hal tersebut. Penelitian ini, membahas suatu topik kajian tentang poster Obama. Suatu media komunikasi massa dalam sebuah kampanye pemilihan Pemimpin Negara atau Presiden dan Wakil Presiden. Poster Obama telah memberikan kontribusi besar, atas keberhasilan Barack Obama menjadi Presiden Amerika Serikat yang ke-44, dan menjadi orang kulit hitam pertama yang memimpin negara Adidaya tersebut. Suatu program kampanye yang sangat menarik untuk dikaji dalam ilmu desain komunikasi visual, hal ini merupakan topik yang dapat menjadi inspirasi setiap insan dalam mengembangkan dirinya dalam berkomunikasi yang kreatif. Teori pendekatan penelitian ini, menggunakan analisis sudut pandang dari ilmu Komunikasi dan Semiotika Visual. Pendekatan ini, diharapkan dapat menguraikan unsur-unsur visual yang terdapat dalam Poster Obama, dan menjabarkan tanda, pesan, dan makna yang terkandung didalamnya. Kata kunci: poster, kampanye Barack Obama, komunikasi, semiotika.OBAMA’S “HOPE” POSTER IN MASS COMMUNICATIONAbstract Communication is the main thing in interacting with others. Humans have a significant need in communicating themselves to others or even to the other kind of life creatures. Communication gives a very useful influence and role in human development. When we begin to adapt in a new place, we need an active communication to know the culture of that place. This activity becomes a natural thing and happens spontaneously. Although difficulties might appear, it could be a valuable experience.The communication media used for conveying the message ofa communicator and being received by the communicant havevaried and efficient functions. The communication process that involves a media often provides a different understanding that is received by the communicant, and there are many factors that influence it. This researchdiscusses a topic of study about Obama’s poster. A mass communication media for the election campaign of the United Stat’s President and Vice President. Obama’s poster had made a big contribution to the success of Barack Obama to be the 44th President of the United States, and to be the first black people to lead the Superpower country. it was a very interesting campaign program to be explored in visual communication design science, it was a topic that could inspire everyone in developing themselves in a creative communication. The approach theory used in this research was the analysis of the point of view of the Communication and Visual Semiotics sciences. This approach was expected to describe the visual elements contained in Obama’s Poster, and described the signs, messages, and meanings contained on it. Keywords: poster, Barack Obama campaign, communication, semiotics.

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Kalmar, Alexandra, Gitta Szabo, Orsolya Galamb, Barbara Kinga Bartak, Zsofia Brigitta Nagy, Sara Zsigrai, Krisztina Andrea Szigeti, et al. "Abstract 2945: Comprehensive analysis of tissue and plasma-related genetic alterations in Hungarian colorectal cancer patients." Cancer Research 82, no. 12_Supplement (June 15, 2022): 2945. http://dx.doi.org/10.1158/1538-7445.am2022-2945.

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Abstract Background: Analysis of circulating cell-free DNA (cfDNA) of colorectal cancer (CRC) patients provides an ideal approach to explore genetic alterations in a minimally invasive way. Aims: We aimed to perform a comprehensive analysis of tissue-originated genomic DNA and plasma-derived cfDNA from CRC patients by whole-exome and targeted panel sequencing. Materials & methods: DNA was isolated from tissue and plasma samples of 55 [7 healthy (N), 16 adenomas (AD), and 32 CRC] patients using the High Pure PCR Template Kit (Roche) and the Quick cfDNA Serum & Plasma Kit (Zymo). cfDNA quality was assessed with the High Sensitivity DNA kit on BioAnalyzer 2100 and quantified by the Qubit dsDNA HS assay. Exome libraries from tissue samples were constructed by the Nextera DNA Exome Kit (Illumina). For the cfDNA samples, we used the QIAseq cfDNA All-in-One kit combined with the QIASeq Human Exome Kit, and in the case of 12 patients, CRC-specific oncogenes were further analyzed with a solution developed by QIAGEN for reliable calling of low frequency variants in cfDNA samples. Exome libraries were quantified with the KAPA Library Quantification Kit and the QIAseq™ Library Quant Assay Kit (Qiagen) and were sequenced using the NextSeq 500/550 High Output v2 kit on a NextSeq 500 Instrument (Illumina). Raw data analysis and demultiplexing were completed on the BaseSpace Sequence Hub. Variants of the tissue and cfDNA samples were determined by the Mutect2 and Haplotype caller algorithms of GATK 4.1.4.1, respectively. Clinical significance was evaluated according to the OncoKB database. Results: The most frequently mutated genes were APC, KRAS, DYNC1H1, KCNO5, and MARCH6 in the colorectal adenoma tissue samples, while those in CRC samples were APC, TP53, TTN, KRAS, and DYNCC2H1. CfDNA quantity was significantly higher in the CRC group compared to the AD (p<0.02) and N (p<0.005) patients. Based on the plasma exome results, 4.4-59.4% of the tumor somatic variants could be found in 12.5% of the patients. These patients were above 60 years of age and had Dukes D stage CRC. Panel sequencing of the circulating DNA samples detected tumor somatic variants in 8 out of the 12 enrolled patients. This method could identify 60% of all tumor somatic variants falling on its targeted regions, while whole-exome sequencing recovered only 20% of tumor somatic variants in the respective regions in cfDNA of the same patients. Conclusion: We have performed a comprehensive genetic analysis on CRC tissue and cfDNA samples in the Hungarian population. Exome sequencing offers a broad overview of the coding regions, however, targeted panel sequencing with a higher coverage depth can detect tumor somatic variants more reliably in cfDNA, therefore, it can hold a relevant clinical potential. Citation Format: Alexandra Kalmar, Gitta Szabo, Orsolya Galamb, Barbara Kinga Bartak, Zsofia Brigitta Nagy, Sara Zsigrai, Krisztina Andrea Szigeti, William Kothalawala, Peter Igaz, Istvan Takacs, Bela Molnar. Comprehensive analysis of tissue and plasma-related genetic alterations in Hungarian colorectal cancer patients [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 2945.

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"Bela Bartok." Choice Reviews Online 53, no. 03 (October 20, 2015): 53–1184. http://dx.doi.org/10.5860/choice.193033.

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"Bela Bartok: a celebration." Choice Reviews Online 41, no. 10 (June 1, 2004): 41–5815. http://dx.doi.org/10.5860/choice.41-5815.

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"The music of Bela Bartok." Choice Reviews Online 30, no. 03 (November 1, 1992): 30–1432. http://dx.doi.org/10.5860/choice.30-1432.

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"Bela Bartok: a guide to research." Choice Reviews Online 35, no. 02 (October 1, 1997): 35–0642. http://dx.doi.org/10.5860/choice.35-0642.

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"Bela Bartok, a guide to research." Choice Reviews Online 26, no. 01 (September 1, 1988): 26–0002. http://dx.doi.org/10.5860/choice.26-0002.

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"Bela Bartok: composition, concepts, and autograph sources." Choice Reviews Online 34, no. 01 (September 1, 1996): 34–0212. http://dx.doi.org/10.5860/choice.34-0212.

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Journal articles on the topic 'Bela Bartok'

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