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Swift, Richard, Arthur Bird, and Gunther Schuller. "Nonet for Woodwinds (Marche miniature); For Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets and 2 Bassoons." Notes 42, no. 2 (December 1985): 403. http://dx.doi.org/10.2307/897456.
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Weait, Christopher, Andrzej Panufnik, and Daniel Dorff. "Concerto for Bassoon and Small Orchestra [Flute, 2 Clarinets in B-Flat, Strings]." Notes 51, no. 3 (March 1995): 1141. http://dx.doi.org/10.2307/899346.
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Tawa, Nicholas E., and Charles Tomlinson Griffes. "The Kairn of Koridwen, a Dance-Drama in 2 Scenes (1916-1917) [For Flute, 2 Clarinets, 2 Horns, Celesta, Harp, and Piano]." Notes 51, no. 3 (March 1995): 1136. http://dx.doi.org/10.2307/899344.
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Lien, Joelle L., and Jere T. Humphreys. "Relationships among Selected Variables in the South Dakota All-State Band Auditions." Journal of Research in Music Education 49, no. 2 (July 2001): 146–55. http://dx.doi.org/10.2307/3345866.
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The purpose of this study was to examine the effects of school enrollment, distance to audition site, sex of auditionees, and instrument type on the results of the 1992–97 South Dakota all-state band auditions. Results include the following: (1) total audition scores were better for students from larger schools and for those who traveled a shorter distance to the audition; (2) female students' scores were significantly better than those of male students, but there was no significant difference in the percentages of successful auditions between males and females; (3) scores differed significantly between instrument groups, with flutes and double reeds receiving the best scores, followed by saxophones, trumpets and French horns, low brass and string basses, and clarinets; and (4) the variables of distance to audition site, instrument group, and sex accounted for 11% of the variance in total audition scores.
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Gantner, Sophia, Matthias Echternach, Reinhard Veltrup, Caroline Westphalen, Marie Christine Köberlein, Liudmila Kuranova, Gregor Peters, et al. "Impulse dispersion of aerosols during playing wind instruments." PLOS ONE 17, no. 3 (March 3, 2022): e0262994. http://dx.doi.org/10.1371/journal.pone.0262994.
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Musical activities, especially singing and playing wind instruments, have been singled out as potentially high-risk activities for the transmission of SARS CoV-2, due to a higher rate of aerosol production and emission. Playing wind instruments can produce condensation, droplets of saliva, and aerosol particles, which hover and spread in the environmental air’s convectional flows and which can be potentially infectious. The aim of this study is to investigate the primary impulse dispersion of aerosols that takes place during the playing of different wind instruments as compared to breathing and to speaking. Nine professional musicians (3 trumpeters, 3 flautists and 3 clarinetists) from the Bavarian Symphony Orchestra performed the main theme from the 4th movement of Ludwig van Beethoven‘s 9th symphony in different pitches and loudness. The inhaled air volume was marked with small aerosol particles produced using a commercial e-cigarette. The expelled aerosol cloud was recorded by cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud were measured by segmenting the video footage at every time point. Overall, the flutes produced the largest dispersion at the end of the task, reaching maximum forward distances of 1.88 m. An expulsion of aerosol was observed in different directions: upwards and downwards at the mouthpiece, at the end of the instrument, and along the flute at the key plane. In comparison, the maximum impulse dispersions generated by the trumpets and clarinets were lower in frontal and lateral direction (1.2 m and 1.0 m towards the front, respectively). Also, the expulsion to the sides was lower.
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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (October 2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.
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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.
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Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
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This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.
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Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.
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Rickards, Guy. "LEE HYLA." Tempo 58, no. 230 (October 2004): 86–87. http://dx.doi.org/10.1017/s0040298204290337.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Stepenko, Eduard A. "Constructive Interaction of Teacher and Student in the Process of Learning to Play the Clarinet As a Condition for Formation of Ensemble Music Culture." Uchenye Zapiski RGSU 20, no. 2 (June 29, 2021): 139–47. http://dx.doi.org/10.17922/2071-5323-2021-20-2-139-147.
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Constructivity in the interaction of a teacher and a student contributes to an increase in the level of musical and performing skills, therefore, the problem of research is relevant in connection with the disclosure in the conditions of constructive interaction of the potential capabilities of the student when playing the instrument, the influence on its creative development, including in the field of ensemble music. Such interaction encourages the acquisition of the entire complex of competencies and its own professional position. The constructive interaction of the teacher and the student in the course of classes in the clarinet class as a condition for the formation of a culture of ensemble music was not previously considered, therefore this article is devoted to a theoretical study of the problem of forming the skill of constructive interaction of the teacher and student and illuminating the method of its formation in the clarinet class
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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Phillips, Paul, Hugh Wood, Barry Conyngham, Matsuo Basho, Lasse Thoresen, Pia Gilbert, and John Cage. "Four Logue Songs, op. 2; For Contralto, Clarinet, Violin and Cello." Notes 43, no. 1 (September 1986): 195. http://dx.doi.org/10.2307/897878.
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Kellison, Makayle, Whitney L. Coyle, and Montserrat Pàmies-Vilà. "Objective identification of note-to-note transitory segments in clarinet playing." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A82. http://dx.doi.org/10.1121/10.0015620.
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Transients are generally identified according to a user dependent set of standards—for example, one could choose a threshold that is defined between 10% and 90% of the max mouthpiece pressure or 20%–80%. However, this choice is always at the researcher’s discretion. Presented here will be an objective option for identifying the transitory region between notes when studying clarinet playing tests by using the second derivative of the envelope of the mouthpiece pressure during clarinet playing tests. This work will offer the comparison of two methods of transition classification (1) ΔT, the interval between two extrema of the second derivative mentioned above, and (2) the interval of transition found with a threshold-based method, in order to then validate that the ΔT method relates to the tongue-reed-contact duration Tc (3) the interval between the maximum and minimum slope of the first derivative of a reed vibration signal surrounding a transition. We will then show that ΔT is a reliable and repeatable replacement for the arbitrary identification options that have been available thus far.
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Caplin, Martyn E., Marianne Pavel, Jarosław B. Ćwikła, Alexandria T. Phan, Markus Raderer, Eva Sedláčková, Guillaume Cadiot, et al. "Anti-tumour effects of lanreotide for pancreatic and intestinal neuroendocrine tumours: the CLARINET open-label extension study." Endocrine-Related Cancer 23, no. 3 (January 7, 2016): 191–99. http://dx.doi.org/10.1530/erc-15-0490.
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In the CLARINET study, lanreotide Autogel (depot in USA) significantly prolonged progression-free survival (PFS) in patients with metastatic pancreatic/intestinal neuroendocrine tumours (NETs). We report long-term safety and additional efficacy data from the open-label extension (OLE). Patients with metastatic grade 1/2 (Ki-67 ≤10%) non-functioning NET and documented baseline tumour-progression status received lanreotide Autogel 120 mg (n=101) or placebo (n=103) for 96 weeks or until death/progressive disease (PD) in CLARINET study. Patients with stable disease (SD) at core study end (lanreotide/placebo) or PD (placebo only) continued or switched to lanreotide in the OLE. In total, 88 patients (previously: lanreotide, n=41; placebo, n=47) participated: 38% had pancreatic, 39% midgut and 23% other/unknown primary tumours. Patients continuing lanreotide reported fewer adverse events (AEs) (all and treatment-related) during OLE than core study. Placebo-to-lanreotide switch patients reported similar AE rates in OLE and core studies, except more diarrhoea was considered treatment-related in OLE (overall diarrhoea unchanged). Median lanreotide PFS (core study randomisation to PD in core/OLE; n=101) was 32.8 months (95% CI: 30.9, 68.0). A sensitivity analysis, addressing potential selection bias by assuming that patients with SD on lanreotide in the core study and not entering the OLE (n=13) had PD 24 weeks after last core assessment, found median PFS remaining consistent: 30.8 months (95% CI: 30.0, 31.3). Median time to further PD after placebo-to-lanreotide switch (n=32) was 14.0 months (10.1; not reached). This OLE study suggests long-term treatment with lanreotide Autogel 120 mg maintained favourable safety/tolerability. CLARINET OLE data also provide new evidence of lanreotide anti-tumour benefits in indolent and progressive pancreatic/intestinal NETs.
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Phan, Alexandria T., Arvind Dasari, Nilani Liyanage, David Cox, Susan Pitman Lowenthal, and Edward M. Wolin. "Tumor response in the CLARINET study of lanreotide depot vs. placebo in patients with metastatic gastroenteropancreatic neuroendocrine tumors (GEP-NETs)." Journal of Clinical Oncology 34, no. 4_suppl (February 1, 2016): 434. http://dx.doi.org/10.1200/jco.2016.34.4_suppl.434.
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434 Background: In the CLARINET study, significant improvement in progression-free survival (primary endpoint) was reported in patients (pts) treated with lanreotide depot (LAN), a long-acting somatostatin analog, for moderately- or well-differentiated, nonfunctioning, locally advanced or metastatic GEP-NETs. A favorable safety profile was also observed. This retrospective analysis presents tumor response from CLARINET. Methods: Pts were randomized to LAN 120 mg (n=101) or PBO (n=103) once every 28 days for 96 weeks. Tumor response was evaluated centrally using RECIST version 1.0. Pts’ tumors were measured by sum of the longest diameter (SLD) of target lesions (TLs). Change was calculated for each pt’s SLD from baseline to last available post-baseline assessment. Tumor response was classified as complete response (CR): disappearance of all TLs and non-target lesions (NTLs) and no new lesions; partial response (PR): ≥30% decrease in SDL and no progressive disease (PD); stable disease (SD): not meeting criteria for CR/PR or PD; PD: ≥20% increase in SLD from baseline or nadir, unequivocal progression of NTLs or appearance of new lesions. The remaining pts were not evaluable (NE) for response. Results: 101 pts treated with LAN and 103 pts treated with PBO were assessed for tumor response. Among pts receiving LAN, 64% (65/101) demonstrated SD compared to 43% (44/103) of pts receiving PBO (Table). An additional 2 pts in the LAN group achieved a PR. Similar trends were observed in pts with pancreas and midgut origin tumors. Conclusions: A clinical benefit (defined as CR+PR+SD) of 66% (67/101) was observed with single agent LAN vs 43% (44/103) with PBO in the CLARINET population, further supporting the clinical efficacy of LAN. Clinical trial information: NCT00353496. [Table: see text]
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Byo, James L., Amanda L. Schlegel, and N. Alan Clark. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Secondary School Instrumentalists." Journal of Research in Music Education 58, no. 4 (November 2, 2010): 316–28. http://dx.doi.org/10.1177/0022429410386230.
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To test the effects of octave and timbre on tuning accuracy, four stimuli—B-flat 4 sounded by flute, oboe, and clarinet and B-flat 2 sounded by tuba—functioned as reference pitches for high school wind players ( N = 72). The two stimulus octaves combined with participants’ assigned tuning notes created soprano, tenor, and bass tuning groups. All participants tuned to each instrument. Results indicated no effect due to tuning group. There was a significant difference due to stimulus. Participants’ responses were more out of tune to the tuba stimulus than to the oboe, clarinet, and flute stimuli, which were not different from each other. There was no difference in the distribution of in-tune, sharp, and flat responses across tuning stimuli, a result that differs from the “preference for sharpness” effect in previous research. Verbal and performance responses to the tuba, oboe, and flute stimuli revealed misconceptions between participants’ perceptions of tuning difficulty and actual performance difficulty and favored the use of oboe and flute as tuning references. Most of the participants (82%) reported tuning to the tuba as the prevalent approach to mass tuning in their school bands.
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Ito, Tetsuhide, Seiichi Hisamatsu, Akihiro Nakajima, and Akira Shimatsu. "An open-label, single-group, multicenter phase II study of lanreotide autogel (LAN) in Japanese patients (pts) with neuroendocrine tumors (NET)." Journal of Clinical Oncology 35, no. 4_suppl (February 1, 2017): 471. http://dx.doi.org/10.1200/jco.2017.35.4_suppl.471.
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471 Background: LAN is a long-acting somatostatin analog indicated in EU for the treatment of carcinoid syndrome and in the US and EU as antiproliferative treatment in pts with gastroenteropancreatic (GEP) -NET. The antitumor efficacy of LAN in pts with GEP-NET was evaluated in the phase III CLARINET study. No study to date has reported the antitumor effects of somatostatin analog in Japanese pts with NET. Methods: In this open-label, single-arm study, Japanese pts with Grade 1 or 2 unresectable metastatic or locally advanced NET received 120 mg once every 4 weeks for 48 weeks. Pts who completed the study were subsequently enrolled in the long-term extension study. The primary endpoint was the clinical benefit rate (CBR: the ratio of pts with a complete response, a partial response (PR), or stable disease over 24 weeks). Secondary endpoints included progression-free survival (PFS), objective response rate (ORR) (RECIST 1.1, central review), serum chromogranin A (CgA) level and quality of life using the EORTC QLQ-C30. The results of the CLARINET study cohort were compared with those from a matched population. Results: 32 pts were recruited in 10 sites. Mean age was 61.7 years. 67.9% were male. The primary tumor sites were pancreas (n = 14), foregut (2), midgut (2), hindgut (8), and unknown (6). Four pts had gastrinoma, and 3 of them had multiple endocrine neoplasia type 1. In the Full Analysis Set (n = 28), 39.3% of pts had progressive disease at baseline according to RECIST criteria. The CBR at 24 weeks was 64.3% (18 of 28 pts) and the median PFS was 36.3 weeks. A PR was confirmed in 1 patient during the 60 weeks of the extension study (ORR: 3.6%). For PFS, the subgroup analysis showed that the results of pts with no progressive disease at baseline or prior treatments for NET were similar to the results of pts in the CLARINET study. LAN decreased serum CgA by at least 50% in 15 of 17 pts (88.2%) who had elevated CgA levels at baseline. Frequent adverse reactions included injection site induration (28.1%), pale stools (18.8%), flatulence (12.5%), and diabetes (12.5%). Conclusions: The efficacy and safety of LAN in this study clearly show that LAN will be a useful treatment option for Japanese pts with NET. Clinical trial information: 132375,142698.
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Trawick, Eleanor F., and Barbara Kolb. "Millefoglie for Instruments [Oboe, Assisting Oboe (Flute, Optional), B-Flat Clarinet, B-Flat Bass Clarinet (Doubling B-Flat Clarinet, Optional), Trombone, Perc. (2 Players-Vibraphone and Marimba), Harp, Cello] and Computer-Generated Tape (1985, Revised Sept. 1987)." Notes 48, no. 2 (December 1991): 690. http://dx.doi.org/10.2307/942094.
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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.
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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.
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Alves, Anderson, and Ricardo Freire. "Processos de construção da expertise na clarineta: Investigação das trajetórias de clarinetistas brasileiros." Percepta - Revista de Cognição Musical 2, no. 1 (December 30, 2014): 61–84. http://dx.doi.org/10.34018/2318-891x.2(1)61-84.
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Young, Kathryn E., and Sara A. Winges. "Thumb-Rest Position and its Role in Neuromuscular Control of the Clarinet Task." Medical Problems of Performing Artists 32, no. 2 (June 1, 2017): 71–77. http://dx.doi.org/10.21091/mppa.2017.2013.
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Musicians spend long hours of practice and performance to master their instrument. Clarinet players support their roughly 2-lb instrument on the right-hand thumb, which results in cumulative static loading of the arm. This posture in turn can cause discomfort and, in some cases, evolve into debilitating overuse injuries and pain throughout the right upper limb. Altering the thumb-rest position has been proposed as a way to alleviate this discomfort, although no quantitative research has been conducted on this issue. The purpose of this study was to address the impact of thumb-rest position on the neuromuscular control of holding the clarinet. Surface electromyographic recordings of superficial muscles that control the right thumb, wrist, and arm were taken during realistic playing tasks. Twenty clarinetists performed 10 held notes and 10 exercises on the three different thumb-rest positions. The notes and exercises were chosen to isolate specific elements of playing. We hypothesized that a high thumb-rest position would result in a significantly different balance of muscle activity than traditional and low thumb-rest positions. The patterns of muscle activity recorded among clarinetists were idiosyncratic, but for all players these patterns were influenced by the note(s) played and thumb-rest position, and thus the hypothesis was partially supported. Muscles that acted on the thumb and wrist were most influenced by thumb-rest position. These results support the notion that adjustment of thumb-rest position may be a useful way to alleviate discomfort in the supporting limb but must be evaluated for each individual.
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Spasov, Miroslav. "Using Strange Attractors to Control Sound Processing in Live Electroacoustic Composition." Computer Music Journal 39, no. 3 (September 2015): 25–45. http://dx.doi.org/10.1162/comj_a_00313.
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This article explores the possibility of using chaotic attractors to control sound processing with software instruments in live electroacoustic composition. The practice-led investigation involves the Attractors Library, a collection of Max/MSP externals based on iterative mathematical equations representing nonlinear dynamical systems; Attractors Player, a Max/MSP patch that controls the attractors' performance and live processing; and the two compositions based on the software: Strange Attractions for flute, clarinet, horn, and live electronics, and Sabda Vidya No. 2 for flute, tenor saxophone, and live electronics. In the article I discuss some specific attractors' characteristics and their use in interactive composition, relying on the experience from the performances of these two compositions. The idea is to highlight the experience with these nonlinear systems and to encourage other composers to use them in their own works.
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Todd, R. Larry. "Late Brahms, Ancient Modes." Nineteenth-Century Music Review 15, no. 3 (June 26, 2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.
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History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.
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Wolin, Edward M., Marianne Pavel, Jaroslaw B. Cwikla, Alexandria T. Phan, Markus Raderer, Eva Sedlackova, Guillaume Cadiot, et al. "Final progression-free survival (PFS) analyses for lanreotide autogel/depot 120 mg in metastatic enteropancreatic neuroendocrine tumors (NETs): The CLARINET extension study." Journal of Clinical Oncology 35, no. 15_suppl (May 20, 2017): 4089. http://dx.doi.org/10.1200/jco.2017.35.15_suppl.4089.
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4089 Background: In the CLARINET core study, lanreotide Autogel (LAN) 120 mg deep sc monthly significantly improved PFS vs PBO in metastatic grade-1/2 enteropancreatic NETs. An interim analysis of patients with stable disease (SD) in the core study continuing LAN in the open-label extension (OLE, of which safety was primary objective) showed continued antitumor effects. Here, we report final LAN PFS analyses for subgroups according to tumor origin and prior therapy. Methods: In the core study, patients with metastatic well/moderately differentiated non-functioning (N-F) enteropancreatic NETs, Ki-67 <10%, no prior somatostatin-analog treatment and no other prior medical therapies in the previous 6 months were randomized to LAN 120 mg (n=101) or PBO (n=103) for 96 weeks or until death/progressive disease (PD; RECIST 1.0). Patients with SD receiving LAN and any patient receiving PBO could enter a single-arm (LAN) OLE (NCT00842348). Main efficacy endpoint: PFS (time from core-study randomization to death/PD) for core-study intent-to-treat population from Kaplan–Meier survival analysis. Here, PFS was analyzed in subgroups of LAN–LAN patients. Results: OLE final population comprised 89 patients (LAN–LAN 42 [41 with SD]; PBO–LAN 47 [15 with SD]); 38% had pancreatic and 38% midgut NETs. During the OLE, 40% continuing LAN vs 47% switched to LAN had treatment-related adverse events. No new safety concerns were identified. Overall LAN median PFS from the LAN–LAN group was 38.5 months, and varied with tumor origin and prior therapy (Table). Conclusions: CLARINET OLE suggests sustained antitumor effects with LAN 120 mg in enteropancreatic NETs irrespective of tumor origin, and suggests benefits with LAN as early treatment. Clinical trial information: NCT00842348. [Table: see text]
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Bardos, Paul. "A review of the Contaminated Land Rehabilitation Network for Environmental Technologies in Europe (CLARINET). Part 2: Working Group findings." Land Contamination & Reclamation 11, no. 1 (January 1, 2003): 15–30. http://dx.doi.org/10.2462/09670513.616.
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Richmond, Sam W., Burrill Phillips, Alberta Phillips, Elinor Armer, and Ursula K. Le Guin. "Letters from Italy Hill: Landscape with Figures; For Soprano Solo, Flute, B[flat] Clarinet, 2 Violins, Viola, Cello, Piano." Notes 43, no. 4 (June 1987): 930. http://dx.doi.org/10.2307/898187.
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Ito, Tetsuhide, Seiichi Hisamatsu, Akihiro Nakajima, and Akira Shimatsu. "Long-term safety and efficacy of lanreotide treatment in Japanese patients with neuroendocrine tumors: Final analysis of a phase II open-label extension study." Journal of Clinical Oncology 38, no. 4_suppl (February 1, 2020): 621. http://dx.doi.org/10.1200/jco.2020.38.4_suppl.621.
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621 Background: Lanreotide autogel 120mg (lanreotide) was approved in Japan in July 2017 for the treatment of gastroenteropancreatic neuroendocrine tumors (NETs) based on the results from an international phase III study (CLARINET study) and a Japanese single-arm phase II study. The CLARINET extension study demonstrated long-term efficacy and safety of lanreotide treatment; however, no Japanese patients were included in the study. To describe the safety and efficacy of long-term lanreotide treatment for NETs in Japanese patients, the final analysis of the Japanese phase II study and its extension study was performed. Methods: This open-label extension study (Study 002, JapicCTI-142698) enrolled patients who completed 48 weeks of treatment with 4-weekly subcutaneous lanreotide in an open-label phase II study in Japanese patients with NETs (Study 001, JapicCTI-132375). Study 002 had the same design as Study 001. Results: Of the 32 patients who started treatment with lanreotide, 17 completed Study 001 and enrolled in Study 002. In the safety analysis set (n = 17), 16 patients (94.1%) developed adverse events (AEs) that were considered drug-related (adverse drug reactions; ADRs), most commonly faeces pale (n = 5; 29.4%), injection site induration (n = 4; 23.5%), flatulence and diabetes mellitus (both n = 3; 17.6% each). No patient permanently discontinued lanreotide or died as a result of an AE. Four patients had a total of eight serious AEs; of these, two events of bile duct stones were considered to be ADRs. In the efficacy analysis set (n = 28), the median lanreotide exposure over Studies 001 and 002 was 52.7 weeks (range: 12–181 weeks). The best overall response was partial response in 2 patients (7.1%; reached at 60 and 108 weeks), stable disease in 20 patients (71.4%) and progressive disease in 6 patients (21.4%). Conclusions: No unexpected serious AEs developed during prolonged use of lanreotide. Lanreotide was effective over long-term treatment in Japanese patients with NETs. Clinical trial information: JapicCTI-132375, JapicCTI-142698.
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Patti, Francesco, Andrea Visconti, Antonio Capacchione, Sanjeev Roy, and Maria Trojano. "Long-term effectiveness in patients previously treated with cladribine tablets: a real-world analysis of the Italian multiple sclerosis registry (CLARINET-MS)." Therapeutic Advances in Neurological Disorders 13 (January 2020): 175628642092268. http://dx.doi.org/10.1177/1756286420922685.
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Background: The CLARINET-MS study assessed the long-term effectiveness of cladribine tablets by following patients with multiple sclerosis (MS) in Italy, using data from the Italian MS Registry. Methods: Real-world data (RWD) from Italian MS patients who participated in cladribine tablets randomised clinical trials (RCTs; CLARITY, CLARITY Extension, ONWARD or ORACLE-MS) across 17 MS centres were obtained from the Italian MS Registry. RWD were collected during a set observation period, spanning from the last dose of cladribine tablets during the RCT (defined as baseline) to the last visit date in the registry, treatment switch to other disease-modifying drugs, date of last Expanded Disability Status Scale recording or date of the last relapse (whichever occurred last). Time-to-event analysis was completed using the Kaplan–Meier (KM) method. Median duration and associated 95% confidence intervals (CI) were estimated from the model. Results: Time span under observation in the Italian MS Registry was 1–137 (median 80.3) months. In the total Italian patient population ( n = 80), the KM estimates for the probability of being relapse-free at 12, 36 and 60 months after the last dose of cladribine tablets were 84.8%, 66.2% and 57.2%, respectively. The corresponding probability of being progression-free at 60 months after the last dose was 63.7%. The KM estimate for the probability of not initiating another disease-modifying treatment at 60 months after the last dose of cladribine tablets was 28.1%, and the median time-to-treatment change was 32.1 (95% CI 15.5–39.5) months. Conclusion: CLARINET-MS provides an indirect measure of the long-term effectiveness of cladribine tablets. Over half of MS patients analysed did not relapse or experience disability progression during 60 months of follow-up from the last dose, suggesting that cladribine tablets remain effective in years 3 and 4 after short courses at the beginning of years 1 and 2.
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Freire, Ricardo José Dourado. "Em busca da clarineta perdida: conexão com a performance no reencontro com meus instrumentos." Revista Música 20, no. 2 (December 20, 2020): 297–312. http://dx.doi.org/10.11606/rm.v20i2.179210.
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Este artigo é um relato de experiência sobre os procedimentos de divulgação pública de um processo de coleta de dados sobre performance musical. Este processo de pesquisa aconteceu em decorrência das restrições impostas pela pandemia do COVID19, quando os protocolos de pesquisa estão sendo mediados por dinâmicas relacionadas tanto com a produção de vídeos quanto por dinâmicas de interação com mídias sociais. A convergência de métodos de pesquisa, produção artística e divulgação na internet criou um novo ambiente para realização de investigações artísticas. O projeto de pesquisa que foi estabelecido em três etapas: 1) Definição do projeto de performance, 2) Produção de vídeos para internet, e 3) Elaboração de estratégias de divulgação em mídias sociais. O projeto Desafio com 15 clarinetas foi realizado em Novembro de 2020, com pré-produção entre agosto e outubro, produção e publicação dos vídeos, entre 1 e 20 de novembro, nas plataformas Facebook, Instagram e Youtube. O projeto consistiu na gravação em vídeo da peça Hommage à Strauss de Béla Kovács com 15 configurações de instrumento, boquilha e palheta. O propósito desta experiência foi a preparação e divulgação de uma performance musical nas mídias sociais explorando as possibilidades atuais de elaboração de conteúdo, produção e divulgação.
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Finnerty, Adrian J. "Albums for wind ensembles - Concerts to Sing, Clap and Play (Macmillan Education, 1991, £3.95) by Heather Cox and Garth Rickard - Sing, Clap and Play and Recorder Books 1 and 2 - Foklore International 3 (Universal Edition1992, £5.40) by Christa Reolcke - Hits for Kids series (Universal Edition1991, £5.95) by Walter Haberl - Children's Suite, Op. 16) by Malcolm Arnold arranged by Denis Bloodworth (Lengnick1993) - Recorder Consorts (Kevin Mayhew1993, £15.95) - The Christmas Carol Book (Helicon Music1992, £4.95) - Melodies for Two Flutes and Melodies for Two Clarinets (Lengnick1993, £4.50 and £4.95) both arranged by Edward Watson - Duets for flute and Clarinet and Duets for Clarinet and Alto Saxophone - Microjazz Clarinet Duets (Boosey & Hawkes1993, £4.95) by Christopher Norton - The Three's A Crowd Junior Book B - Three's A Crowd Book 3 - Wind Ensemble 1 (Universal Edition1991) - The Fairer Sax Ensemble Book 1 (Boosey & Hawkes1992, £8.95)." British Journal of Music Education 11, no. 2 (July 1994): 176–77. http://dx.doi.org/10.1017/s0265051700001145.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 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 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Phan, Alexandria T., Martyn E. Caplin, Marianne E. Pavel, Jaroslaw B. Cwikla, Markus Raderer, Eva Sedláčková, Guillaume Cadiot, et al. "Effects of lanreotide autogel/depot (LAN) in pancreatic neuroendocrine tumors (pNETs): A subgroup analysis from the CLARINET study." Journal of Clinical Oncology 33, no. 3_suppl (January 20, 2015): 233. http://dx.doi.org/10.1200/jco.2015.33.3_suppl.233.
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233 Background: The prognosis for patients with metastatic pNETs is generally poor and current treatment options can be complicated by safety considerations. In CLARINET, progression-free survival (PFS) was significantly prolonged with the somatostatin analog LAN 120 mg vs. placebo (PBO) in patients with metastatic grade 1 or 2 (Ki-67 <10%) non-functioning enteropancreatic NETs (hazard ratio [HR] for progressive disease [PD]/death: 0.47 [95% CI: 0.30, 0.73]. Here, we more fully characterize treatment effects in the pNET subgroup. Methods: CLARINET was a 96-week randomized double-blind trial. Patients received LAN 120 mg or PBO every 4 weeks, administered by deep s.c. injection (NCT00353496). Subgroup analyses were undertaken to investigate only the consistency of treatment effects as the study was not otherwise designed or powered for such analyses. Results: 91 patients with pNETs received LAN (n=42) or PBO (n=49). At baseline, mean age was 64 years in both groups; overall, 37% had hepatic tumor loads >25%, 95% had stable disease, 77% had received no previous treatment, and 38% had had previous surgery on the tumor. Median PFS in the pNET subgroup was not reached at study end with LAN vs. 12.1 months [95% CI: 9.4, 18.3] with PBO (HR for PD/death: 0.58 [0.32, 1.04]). (Median PFS for LAN at first planned analysis in the open-label extension study was 29.7 months [12.0, 32.4].) The incidence of adverse events (AEs) in the core study was 88% with both LAN and PBO, and the most common AE was diarrhea (LAN, 43%; PBO, 37%). Treatment-related AEs occurred in 55% of the LAN group and 24% of the PBO group. Serious AEs (SAEs) occurred in 29% vs. 43%, respectively; only three of these patients had treatment-related SAEs (two with LAN, one with PBO). Two patients in each group had AEs leading to withdrawal. Conclusions: The evidence in the pNET subgroup suggesting antitumor effects with LAN together with the favorable long-term safety profile support a positive benefit:risk profile for LAN as a first-line treatment for pNETs. Clinical trial information: NCT00353496.
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Perone, James. "Tonal Implications and the Role of the Symmetrical Hexachord in Alban Berg's Four Pieces for Clarinet and Piano, Opus 5, No. 2." Interface 16, no. 1-2 (January 1987): 49–54. http://dx.doi.org/10.1080/09298218708570487.
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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.
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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.
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Gottlieb, Jane. "Brass Calendar for Brass Quintet [1993], and: Ceremonial March for Piano or Organ [1955/56], and: Variations on a Medieval Theme for Organ [1958], and: Canzona for Organ (1960), and: Fantasy for Organ [1990], and: Viola Dreams: Quodlibet for String Quartet [1997], and: Eagle Rock: Sonatina for Cello and Piano [1996], and: Duo Caprice for Two Violins [1993], and: River Run: For Contrabass and Harpsichord [1976], and: Divertimento for 2 B[flat] Clarinets and Bassoon [1984;1996] (review)." Notes 57, no. 4 (2001): 1005–8. http://dx.doi.org/10.1353/not.2001.0084.
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Byo, James L., and Amanda L. Schlegel. "Effects of Stimulus Octave and Timbre on the Tuning Accuracy of Advanced College Instrumentalists." Journal of Research in Music Education 64, no. 3 (August 20, 2016): 344–59. http://dx.doi.org/10.1177/0022429416662451.
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The purpose of this study was to test the effects of octave and timbre on advanced college musicians’ ( N = 63) ability to tune their instruments. We asked: “Are there differences in tuning accuracy due to octave (B-flat 2, B-flat 4) and stimulus timbre (oboe, clarinet, electronic tuner, tuba)?” and “To what extent do participants’ posttuning perceptions of pitch accuracy align with actual pitch accuracy?” Participants were organized according to octave played in the tuning process, thus forming bass, tenor, and soprano groups. Results showed no significant effect due to group and no significant differences due to stimulus. There was no difference in the distribution of in-tune, sharp, and flat responses. Comparisons of participants’ performance accuracy and posttuning perceptions of task difficulty were favorable to the electronic tuner’s viability as a tuning stimulus and less so to the tuba stimulus. Participants’ responses to “describe how you know you are out of tune” and “describe the strategies you use to get in tune” brought to the foreground two observations of conceptual importance: tuning as four different and sometimes overlapping “experiences” and a self-imposed comparative strategy. Considered alongside previous research, results address developmental aspects of musicians’ tuning performance.
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Blacker, Terry. "Gordon Crosse: Towards a Style." Tempo, no. 155 (December 1985): 22–27. http://dx.doi.org/10.1017/s0040298200021859.
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Quoted in Christopher Ford's profile of the composer, Crosse was referring—with characteristic wit—to the need to find his own personal style in order to escape classification as merely a disciple of a ‘Maxwell Davies School’. Crosse's Renaissance techniques and motivic delineation had always differed significantly from Davies's and in the 12 years since that article appeared, as if to prove this point, Crosse has pursued a different direction, centred on the drama and contrasts possible in the concerto or ‘concertante’. The development of his now highly personal style can be recognized as a synthesis of his earlier experiments in serial procedures. Between 1972 and 1977 Crosse wrote three concertantes: Ariadne, for oboe and 12 players (1971–2), Thel, for flute, two horns, and double string septet (1974–6), and Wildboy, for clarinet, cimbalom, and seven players (1977); pieces which share similar origins and musical processes, and provide explicit examples of his compositional methods. To illustrate this personal style, I will compare the origins and musical materials of the first two concertantes and fit them into the context of his output in the period from 1972–7.
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Pavel, Marianne, Jaroslaw B. Ćwikła, Catherine Lombard-Bohas, Ivan Borbath, Tahir Shah, Ulrich F. Pape, Jaume Capdevila, et al. "Efficacy and safety of high-dose lanreotide autogel in patients with progressive pancreatic or midgut neuroendocrine tumours: CLARINET FORTE phase 2 study results." European Journal of Cancer 157 (November 2021): 403–14. http://dx.doi.org/10.1016/j.ejca.2021.06.056.
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Adelson, Robert. "Johannes Brahms, Sonatas for Clarinet and Piano - Sonata for Clarinet and Piano in F minor op. 120, no. 1 - Sonata for Clarinet and Piano in E flat major op. 120, no. 2 - Sechs Klavierstücke op. 118 - Lorenzo Coppola cl, Andreas Staier pf - Harmonia Mundi HMC 902187, 2015 (1 CD: 62 minutes), $17 - Liner notes by Andreas Staier and Lorenzo Coppola." Nineteenth-Century Music Review 15, no. 1 (April 26, 2017): 111–13. http://dx.doi.org/10.1017/s1479409817000337.
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Cuttler, Jerry M., Maryélise S. Lamet, and Edward J. Calabrese. "Treatment of Early-Stage Alzheimer’s Disease With CT Scans of the Brain: A Case Report." Dose-Response 20, no. 1 (January 2022): 155932582210783. http://dx.doi.org/10.1177/15593258221078392.
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We report the case of a patient in Massachusetts with early-stage Alzheimer’s disease who was treated with low doses of ionizing radiation to the brain. He requested this treatment after reading about a patient with severe Alzheimer’s in Michigan who improved remarkably after receiving 4 CT scans. After his first treatment in April 2016, mental clarity improved. His impaired conversation, reading, and sense of humor were restored, especially his virtuosic clarinet jazz-playing. However, executive function remained deficient. He requested a treatment every 2 weeks, but his neurologist denied this, fearing opposition to this treatment, a diagnostic procedure that used ionizing radiation. Limited recovery was observed after each CT scan, lasting from several weeks to months, depending on the endpoints/behavior and the periodicity. Despite the positive responses, the physician was reluctant to continue beyond 6 due to concerns about adverse effects and disapproval for prescribing them. The patient began hyperbaric oxygen therapy as an alternative. But after 43 treatments, no conclusive benefit was observed. The patient died in September 2020 at age 77. This experience suggests CT scans may have value in treating Alzheimer’s patients and restoring, at least temporarily, important aspects of normal life activities. Such observations need testing and validation.
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Morris, Stephen, and Teresa Brooks. "P35 An evaluation of clopidogrel use in a children’s cardiology centre." Archives of Disease in Childhood 107, no. 5 (April 20, 2022): e25.37-e25. http://dx.doi.org/10.1136/archdischild-2022-nppg.42.
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IntroductionClopidogrel is a medicine that prevents platelet adhesion and is therefore used to reduce the risk of blood clots. In children’s cardiology, clopidogrel is usually added in combination with aspirin for patients who have had operations and procedures that carry a higher risk of thrombosis.In children, there are two major studies that assessed the use of clopidogrel to inhibit platelet aggregation and reduce blood clots; PICOLO1 and CLARINET.2 PICOLO showed that a dose of 0.2mg/kg once a day is effective at inhibiting platelet aggregation. CLARINET showed aspirin and clopidogrel had no significant benefit over aspirin monotherapy at preventing blood clots. However, this was in a very specific cohort of patient with complex heart disease. Due to the significant morbidity and mortality associated with blood clots and lack of suitable alternatives, clopidogrel is still used within children’s cardiology for patients who have multiple risk factors for blood clots from platelet adhesion.The aim of this audit was to establish the nature of prescribing of clopidogrel within our specialist centre compared to the published data.MethodWe collected data retrospectively using the pharmacy dispensing system JAC® to identify patients who had received clopidogrel over a two year period from July 2019 to June 2021. Patients were then included if they continued clopidogrel at discharge. Patient characteristics such as weight, indication, dose and administration instructions were gathered from our electronic patient record and made anonymous prior to anaylsis using Microsoft Excel®.ResultsWe identified 8 patients who had been prescribed clopidogrel over the 2 year period. The median average age at the start of treatment was 5.4 years (range 1.1 to 10.7 years), the median average weight was 21.4kg (range 11.7 to 41.6kg) and the median average dose was 0.71mg/kg (range 0.23 to 1.8mg/kg). The indications included shunts (n=3), devices/stents (n=4) and aspirin allergy (n=1). A review of administration instructions for families at hospital discharge found three inappropriate manipulations. This was due to the use of tablets to provide a small dose that was deemed to carry a risk of inconsistent dosing and difficulty for families to administer.ConclusionThis project has shown that the use of clopidogrel in our centre was variable and in a non-standard fashion. This is demonstrated by the wide range of doses prescribed and the methods used to administer them. This is likely due to the lack of evidence to guide prescribing in unusual circumstances. As a result, we have written guidance based on this review to encourage safer prescribing, particularly to avoid unsafe and unnecessary manipulation of formulations to give small doses. We also now have an unlicensed liquid available for infants who require small doses. For older children, prescribing of fractions of a tablet (e.g. 18.75mg, 37.5mg) is encouraged.ReferencesLi JS, Yow E, Berezny KY, et al. Dosing of clopidogrel for platelet inhibition in infants and young children: primary results of the platelet Inhibition in children on clopidogrel trial. Circulation 2008;117:553-559.Wessel DL, Berger F, Li JS, et al. Clopidogrel in infants with systemic-to-pulmonary-artery shunts. New England Journal of Medicine 2013;368:2377-2384.
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Chan, David, Diego Ferone, Manuela Albertelli, Eva Segelov, and Simron Singh. "Escalated dose somatostatin analogues (SSAs) in management of neuroendocrine tumors (NETs): A systematic review." Journal of Clinical Oncology 35, no. 4_suppl (February 1, 2017): 422. http://dx.doi.org/10.1200/jco.2017.35.4_suppl.422.
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422 Background: SSAs are effective in controlling NET symptoms and more recently have been shown to have anti-proliferative properties. PROMID and CLARINET have established “standard” doses of octreotide and lanreotide, but dose escalation is often employed both for symptom relief and tumor control. Methods: We searched MEDLINE, EMBASE, Cochrane CENTRAL and abstracts of major conferences. Studies investigating patients treated with doses of octreotide higher than 30mg/28d or lanreotide higher than 120mg/28d were eligible for inclusion. Data extracted included patient population, interventions and prior SSA use. The primary endpoint was disease control rate; secondary endpoints included response rate, symptom control, biochemical response, progression-free survival and toxicity. Results: 19 studies (12 prospective; 981 patients) were identified from 609 search results. Of the 13 studies that mandated prior treatment, the reasons for dose escalation were tumor progression (5), symptoms (3), either (2) and not listed (3). SSAs used were octreotide LAR (10), lanreotide ATG (1), short-acting octreotide (3), short-acting lanreotide (3), and mixtures (2). Significant heterogeneity existed in dosing schedules as well as reporting of efficacy data. Disease control rates ranged from 40-100% (pooled rate 248/396) with response rates from 0-42% (pooled rate 24/396). Dose escalation was associated with improvement in carcinoid symptoms in at least 50% of patients. Biochemical response was variably defined but reported rates ranged from 33% to 100% (pooled rate 55/78). Median PFS ranged from 6 months to 30 months. Dose escalation was generally well tolerated with side effect profile and frequency comparable to normal dose SSA. Conclusions: Escalated dose SSA is well tolerated and results in significant rates of disease control and symptomatic improvement. Compared to a prior systematic review (Broder WJG 2015), this review includes studies of lanreotide, includes 721 additional patients, and restricts inclusion to clinical studies. Prospective randomized trials of escalated SSA therapy are warranted.
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Laskaratos, Faidon-Marios, Eleni Armeni, Heer Shah, Maria Megapanou, Dimitrios Papantoniou, Aimee R. Hayes, Shaunak Navalkissoor, et al. "Predictors of antiproliferative effect of lanreotide autogel in advanced gastroenteropancreatic neuroendocrine neoplasms." Endocrine 67, no. 1 (September 25, 2019): 233–42. http://dx.doi.org/10.1007/s12020-019-02086-6.
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Abstract Purpose The antiproliferative properties of lanreotide autogel (LAN) in gastroenteropancreatic neuroendocrine neoplasms (GEP NENs) were demonstrated in the CLARINET study. However, there is limited literature regarding factors that affect progression-free survival (PFS) in patients with GEP NENs treated with LAN. Methods We identified a total of 191 treatment-naive patients with advanced GEP NENs and positive SSTR uptake on imaging (Octreoscan or 68Gallium DOTATATE Positron Emission Tomography [68GaPET]) who received first-line LAN monotherapy, albeit at various starting doses (60, 90 or 120 mg/month). A group of 102 patients who initiated treatment at the standard dose of 120 mg/month were included in the study and further evaluated by univariate and multivariate analyses to identify predictors of PFS. Results The location of tumour primary was in the small bowel in 63 (62%), pancreas in 31 (30%) and colon/rectum in 8 patients (8%). The tumours were well-differentiated, and the majority were grade 1 (52%), or 2 (38%). About 60% of cases had progressive disease at the time of treatment initiation. Most patients with available pretreatment nuclear medicine imaging (Octreoscan or 68Ga PET) had a Krenning score of 3 (44%) or 4 (50%). The median PFS for the entire cohort was 19 months (95% CI 12, 26 months). The univariate analysis demonstrated that grade 2 tumours, progressive disease at baseline and metastatic liver disease were associated with a significantly shorter PFS, while other evaluated variables did not affect PFS at a statistically significant level. However, at multivariate analysis only the tumour grade remained statistically significant. Conclusions The current study showed that, of many evaluated variables, only the tumour grade was predictive of PFS duration and this should be considered during patient selection for treatment.
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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.
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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.
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Di Giacinto, Paola, Francesca Rota, Laura Rizza, Davide Campana, Andrea Isidori, Andrea Lania, Andrea Lenzi, Paolo Zuppi, and Roberto Baldelli. "Chromogranin A: From Laboratory to Clinical Aspects of Patients with Neuroendocrine Tumors." International Journal of Endocrinology 2018 (July 2, 2018): 1–12. http://dx.doi.org/10.1155/2018/8126087.
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Background. Neuroendocrine tumors (NETs) are characterized by having behavior and prognosis that depend upon tumor histology, primary site, staging, and proliferative index. The symptoms associated with carcinoid syndrome and vasoactive intestinal peptide tumors are treated with octreotide acetate. The PROMID trial assesses the effect of octreotide LAR on the tumor growth in patients with well-differentiated metastatic midgut NETs. The CLARINET trial evaluates the effects of lanreotide in patients with nonfunctional, well-, or moderately differentiated metastatic enteropancreatic NETs. Everolimus has been approved for the treatment of advanced pancreatic NETs (pNETs) based on positive PFS effects, obtained in the treated group. Sunitinib is approved for the treatment of patients with progressive gastrointestinal stromal tumor or intolerance to imatinib, because a randomized study demonstrated that it improves PFS and overall survival in patients with advanced well-differentiated pNETs. In a phase II trial, pasireotide shows efficacy and tolerability in the treatment of patients with advanced NETs, whose symptoms of carcinoid syndrome were resistant to octreotide LAR. An open-label, phase II trial assesses the clinical activity of long-acting repeatable pasireotide in treatment-naive patients with metastatic grade 1 or 2 NETs. Even if the growth of the neoplasm was significantly inhibited, it is still unclear whether its antiproliferative action is greater than that of octreotide and lanreotide. Because new therapeutic options are needed to counter the natural behavior of neuroendocrine tumors, it would also be useful to have a biochemical marker that can be addressed better in the management of these patients. Chromogranin A is currently the most useful biomarker to establish diagnosis and has some utility in predicting disease recurrence, outcome, and efficacy of therapy.
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Stueven, Anna Kathrin, Antonin Kayser, Christoph Wetz, Holger Amthauer, Alexander Wree, Frank Tacke, Bertram Wiedenmann, Christoph Roderburg, and Henning Jann. "Somatostatin Analogues in the Treatment of Neuroendocrine Tumors: Past, Present and Future." International Journal of Molecular Sciences 20, no. 12 (June 22, 2019): 3049. http://dx.doi.org/10.3390/ijms20123049.
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In recent decades, the incidence of neuroendocrine tumors (NETs) has steadily increased. Due to the slow-growing nature of these tumors and the lack of early symptoms, most cases are diagnosed at advanced stages, when curative treatment options are no longer available. Prognosis and survival of patients with NETs are determined by the location of the primary lesion, biochemical functional status, differentiation, initial staging, and response to treatment. Somatostatin analogue (SSA) therapy has been a mainstay of antisecretory therapy in functioning neuroendocrine tumors, which cause various clinical symptoms depending on hormonal hypersecretion. Beyond symptomatic management, recent research demonstrates that SSAs exert antiproliferative effects and inhibit tumor growth via the somatostatin receptor 2 (SSTR2). Both the PROMID (placebo-controlled, prospective, randomized study in patients with metastatic neuroendocrine midgut tumors) and the CLARINET (controlled study of lanreotide antiproliferative response in neuroendocrine tumors) trial showed a statistically significant prolongation of time to progression/progression-free survival (TTP/PFS) upon SSA treatment, compared to placebo. Moreover, the combination of SSA with peptide receptor radionuclide therapy (PRRT) in small intestinal NETs has proven efficacy in the phase 3 neuroendocrine tumours therapy (NETTER 1) trial. PRRT is currently being tested for enteropancreatic NETs versus everolimus in the COMPETE trial, and the potential of SSTR-antagonists in PRRT is now being evaluated in early phase I/II clinical trials. This review provides a synopsis on the pharmacological development of SSAs and their use as antisecretory drugs. Moreover, this review highlights the clinical evidence of SSAs in monotherapy, and in combination with other treatment modalities, as applied to the antiproliferative management of neuroendocrine tumors with special attention to recent high-quality phase III trials.
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Mottershead, Tim. "Gerard Schurmann - ‘CHAMBER MUSIC VOLUME 2’: GERARD SCHURMANN String Quartet no. 1 & 2; Trio for Clarinet, Cello and Piano; Fantasia for Cello and Piano. Lyris Quartet, Håkan Rosengren (cl.), Clive Greensmith (vc), Mikhail Korzhev (pno). Toccata Classics TOCC0220." Tempo 68, no. 270 (September 4, 2014): 94–95. http://dx.doi.org/10.1017/s0040298214000503.
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Parmadi, Bambang. "Genealogi Sosiokultur Musikalitas Sonai Gandai Mukomuko Bengkulu." Mudra Jurnal Seni Budaya 36, no. 1 (February 23, 2021): 121–27. http://dx.doi.org/10.31091/mudra.v36i1.1317.
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Eksistensi kesenian dalam masyarakat terkait dengan fungsi dan guna kesenian tersebut bagi masyarakat tersebut. Secara konseptual, fungsi berarti hubungan fungsi tersebut dengan organisme sosial. Fungsi seni, terutama dari hubungan praktis dan intergritasnya, mereduksi menjadi tiga fungsi utama, yaitu: (1) untuk kepentingan social atau sarana upacara; (2) sebagai ungkapan perasaan pribadi yang dapat menghibur diri; dan (3) sebagai penyajian estetik. Kabupaten Mukomuko sebagai bagian dari provinsi Bengkulu memiliki kesenian yang sudah dikenal secara luas oleh masyarakat yaitu Tari Gandai. Tari Gandai diyakini berasal dari mitologi Malin Deman di wilayah Kecamatan Malin Deman Kabupaten Mukomuko. Malin Deman sendiri diyakini sebagai nenek moyang suku bangsa Pekal yang menciptakan tari Gandai beserta alat musik pengiringnya yaitu gendang (odap dalam bahasa lokal) dan serunai (Sonai dalam bahasa lokal). Sonai adalah alat musik tradisional tiup aerophone, tergolong dalam end blown flute atau bamboo clarinet yang berfungsi sebagai pembawa melodi tutur tradisi yang dimainkan secara perorangan (solo). Alat musik ini diyakini berasal dari suku bangsa Pekal yang ada di Kecamatan Malin Deman Kabupaten Mukomuko dan berkembang hingga ke seluruh wilayah Kabupaten Mukomuko. perjalanan genealogi eksistensi alat musik Sonai pada masyarakat Mukomuko baik secara sosiokultur dan musikologi. Makna Sonai pada konteks pertunjukan sangalah utama sebagai leader, dan Sonai juga diyakini mempunyai kekuatan supranatural baik pemainnya. Dominasi Sonai tidak hanya pada pentunjukan musikalitasnya saja, namun telah menjadi identitas masyarakat Mukomuko sebagai kearifan lokal musik tradisi. Jenis penelitian adalah kajian budaya dengan menggunakan metode kualitatif deskriptif yang bersifat holistik-integratif, thick description. Analisis data dalam penelitian ini menggunakan model analisis interaktif dan menkondensasi data. Pada penelitian ini, verifikasi data dilakukan secara terus menerus sepanjang proses penelitian dilakukan. Sejak pertama memasuki lapangan dan selama proses pengumpulan data, peneliti berusaha untuk menganalisis dan mencari makna dari data yang dikumpulkan.
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Kalinina, A. S. "Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 80–98. http://dx.doi.org/10.34064/khnum2-15.04.
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Background. Lesia Dychko (born in 1939) is one of the innovators in Ukrainian music of the second half of the 20th century. Among many composers, she is distinguished by the attraction to the music associated with the word. Despite the prevalence of the choral genre in her oeuvre, she pays a lot of attention also to opuses for the solo voice with the instrumental accompaniment. In the fi eld of chamber vocal music, there are characteristic signs of the composer’s style, the richness of the harmonic language, and the author’s fi ligree work with the poetic word. Such features of the L. Dychko’s creative personality are refl ected in the works of many researchers. However, currently there are no studies that addresses the principles of the embodiment of the poetic text. This reveals the relevance of the proposed topic. The purpose of the article is to identify the way in which the semantic and structural properties of P. Tychyna’s poems are refl ected in the song cycle “Enharmonic” by L. Dychko. The following methods have been used to solve the research tasks: historical, genrestyle, structural-functional and comparative. Results. Most of L. Dychko’s chamber vocal cycles for the voice and piano show the composer’s attraction to the heritage of Ukrainian poets, such as P. Grabowsky, V. Kolomiets, I. Franko, and P. Tychyna. The appeal to Tychyna’s poems is indicative of the composer’s aesthetic preference. The reason for the choice was the innovative nature of the poet’s works, which are inherent in poly-rhythm, poly-meter of the poetical lines, musicality of the content and structure, a combination of folklore samples and advanced techniques, and the rich world of images. All these signs already appeared in the fi rst book of P. Tychyna – “The Sun Clarinets” (1918). Its pages are fi lled with sophisticated landscapes, made with bright colours, radiating goodness and humanism. The poems of the collection are endowed with special musicality, numerous sound images, which resulted in the name of many compositions. In particular, the name of the poetic cycle selected by L. Dychko – “Enharmonic” – causes some musical association. It consists of four compositions. Their names describe the state of nature and target the perception of poems – “The Fog”, “The Sun”, “The Wind”, and “The Rain”. The fi gurative and semantic series of each of them is constructed so that their textual basis is a kind of “semantic enharmony” to the title. “Semantic enharmony” means the difference between the text and its name (or other text) by the meaning, but their similarity according to the meaning. To refl ect the rich fi gurative content of the works by P. Tychyna, L. Dychko uses the mixed technique. The synthesis of distant stylistic devices is inherent in all the semantic-structural levels of the romance “Enharmonic”. The proof of this is that the composer gives each composition of the cycle an additional genre designation that has a purely instrumental nature: “The Fantasy” (No. 1), “The Prelude” (No. 2), “The Pastoral” (No. 3), and “The Scherzo” (No. 4). In view of this, in the opus by L. Dychko two kinds of a cyclical composition are combined – vocal and instrumental. When joining poetic and musical rhythms, the composer usually relies on two different principles of the poetic text vocalization, which allows a subtle reproduction of all moods and emotional changes in the verses. In “The Fog” there is the recitation and counter-rhythm, in “The Wind” and “The Rain” the metric and accent increase. Only in “The Sun” metric scheme of the poetic source is retained almost completely. In the domain of the vocal melody, the author combines both the diatonic nature of the short songs with a specifi c modal colouration and chromatic feature and sharp tonal transitions. For example, in “The Fog” there is a gradual complication of melodies: from the Phrygian and Dorian modes with a limited interval to freely interpreted 12-tone space. In “The Wind”, the voice part can be divided into two types according to intonation features which are instrumental and recitativerecitational with song traits. A large mix of different techniques is also announced in the piano part. There is a harmony of classical-romantic type here, impressionistic linearity, and modern sonorous means. Such a variety of different types of the composition and principles of organization of the vertical helps L. Dych ko to convey the range of feelings of Tychyna’s poetry as accurately as possible. Such synthesis of the means of musical expression does not deprive the vocal cycle of integrity, which manifests itself both on the intonation level and on larger levels such as in the structure and principles of the approach to the embodiment of verses. In most cases, the composer limits the interval composition of the vocal melodies of romances, selecting those moves that would refl ect the semantics of the poetic primary sources most clearly. The basis consists of second, third, fourth, and fi fth intonations, and other moves are less common and serve to enhance the expression of the phrase. The unifying factor for all the works of the “Enharmonic” appears to be also the functional purpose of the piano part. It acts as an equal member of the vocal-piano duo and contributes to the implementation of the multilayer semantics of Tychyna’s poetry and its symbolic content. Some regularity also appears in the structure of romances, since “The Fog”, “The Wind” and “The Rain” have similar principles of construction. They are characterized by an improvisational character, a free expansion of the form with a change in the musical content of the sections, the variety of textual types and the culmination at the point of the golden section. “The Sun” is the exception. Its form has features of the couplet-variation structure, since the musical elements from the fi rst stanza are repeated at the beginning of the second, although their elevation is changing. Conclusions. In the embodiment of the symbolic poetry by P. Tychyna, L. Dychko shows an active author’s position, refl ects her vision of its content, emphasizing the important fi gurative and semantic-image units. An important role in this is played by the piano part, which serves as a vivid underline for the main images of the original sources, a kind of “enharmony” of their names. The foregoing confi rms that at the early stage of creativity L. Dychko had already proved herself as an initiative inventor; by combining various stylistic and style techniques, she found the musical equivalent of the content of the poems, revealed their subtext and embodied her own impressions of the perception of P. Tychyna’s poetry.