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1
Palmer, Peter. "Swiss Cello Concertos." Tempo 60, no. 235 (January 2006): 39–40. http://dx.doi.org/10.1017/s0040298206270049.
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URS JOSEPH FLURY: Vineta; Concerto for Cello and Orchestra; Sinfonietta for Strings. Biel Symphony Orchestra; Pierre Fournier (vlc), Vienna Volksoper Orchestra; Vienna Chamber Orchestra c. Urs Joseph Flury. Musikszene Schweiz MGB CD 6184.SCHOECK: Concerto for Cello and String Orchestra, op. 61; Suite in A flat for Strings, op. 59. Julius Berger (vlc), South West German Chamber Orchestra of Pforzheim c. Vladislav Czarnecki. ebs 6145 (www.EBSMusikproduktion.de).
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Ma, Rong, and Professor Advisor. "Performer’s Guide for Luigi Boccherini’s Cello Concerto No. 9 in B-flat Major from a Pedagogical Point of View." Learning & Education 10, no. 5 (March 13, 2022): 193. http://dx.doi.org/10.18282/l-e.v10i5.2734.
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Cello Concerto No. 9 in B-flat Major by Luigi Boccherini, edited by German cellist and composer Friedrich Grützmacher,
is the bridge to lead amateur cellists to become professional, and it is essential for cellists in building a solid foundation before
exploring other standard concertos. Similar to the major concertos, including the Elgar Concerto in E Minor, the Schumann Cello
Concerto in A minor, or the Dvorak Cello Concerto in B minor, Boccherini’s Cello Concerto No. 9 contains virtuosic techniques,
such as various bow strokes, vibrato, thumb position, shifting, rapid string crossings and double stops. However, compared to the
major concertos, Boccherini’s concerto has an easier musical structure and a shorter music length, so it serves as a preparation
before continuing on to the more standard concertos. This paper will provide a pedagogical approach to the Boccherini’s ninth
concerto, along with analyzing other composers’ pedagogical approaches with supporting materials, such as etudes and cello
exercises written by string pedagogue and violinist Shinichi Suzuki, and Bohemian cellist and composer David Popper.
3
Kennaway, George. "Haydn's (?) Cello Concertos, 1860-1930: Editions, Performances, Reception." Nineteenth-Century Music Review 9, no. 2 (December 2012): 177–211. http://dx.doi.org/10.1017/s1479409812000274.
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While there exist numerous nineteenth- and early twentieth-century annotated editions of repertoire such as the violin sonatas of Beethoven, the repertoire for the cello was in general edited significantly less frequently. The cello concertos by or attributed to Haydn constitute an exception, both in the number of versions and the degree of editorial intervention. Three cello concertos were associated with Haydn's name: the well-known concerto in D Hob.VIIb:2, another concerto in D Hob.VIIb:4, and a concerto in C Hob.VIIb:5. The first is now known to be a genuine work of Haydn's although this attribution was not universally accepted in the nineteenth century. The second is an unattributable eighteenth-century concerto claimed to be by Haydn and accepted as such at its publication in 1895. The third was compiled by the cellist David Popper who claimed to have based it on Haydn's sketches, providing orchestration and linking material. This article discusses aspects of the five performing editions of Hob.VIIb:2 by Bockmühl, Servais, Becker, Klengel and Whitehouse, the two editions of Hob.VIIb:4 by Grützmacher and Trowell, and Popper's concerto, considering these texts, the reception of the concertos as compositions, and the reception of individual performances. This article surveys the period of the greatest diversity of editions, a period whose later limit is determined by the eventual entry of this work into the cello canon. It will be suggested that this diversity is a consequence of non-canonicity.
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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.
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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.
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Bailey, Bert. "Concertos for the End of the Milennium." Tempo 59, no. 234 (September 21, 2005): 61–63. http://dx.doi.org/10.1017/s0040298205260321.
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‘Conciertos para el fin del milenio’. TOUSSAINT: Concierto No. 2 para violonchelo y orquesta (1999). MARQUEZ: Espejos en la arena (2000). SIERRA: Cuatro versos (Concerto for Cello & Orchestra) (1999). Carlos Prieto (vlc), Orquesta de las Americas c. Carlos Miguel Prieto, conductor. Urtext JBCC 047.
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Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.
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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.
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Anderson, Martin. "A Conversation with Kalevi Aho." Tempo, no. 181 (June 1992): 16–18. http://dx.doi.org/10.1017/s0040298200015138.
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At the relatively young age of 43 (which his schoolboyish looks nonetheless belie), Kalevi Aho is one of the best-known of Finnish composers, with a substantial corpus of music to his credit – seven symphonies and other orchestral pieces, two operas and several smaller vocal works, three concertos (for violin, cello and for piano), and a healthy amount of chamber and instrumental music. I visited him in Helsinki last summer, in the offices of the Helsinki Festival, where he has a hand in the planning of the programmes, and remarked first on the richness and sheer vigour of Finnish musical life; anyone visiting Finland will be struck by the fact that it seems to have an awful lot of composers.
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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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Ossi, Massimo. "Musical Representation and Vivaldi's Concerto Il Proteo, ò Il mondo al rovverscio, RV 544/572." Journal of the American Musicological Society 69, no. 1 (2016): 111–77. http://dx.doi.org/10.1525/jams.2016.69.1.111.
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Vivaldi's concerto titles draw ambivalent reactions from historians, who see them as commercial hooks, rarely reflecting musical substance. But titles condition a work's reception, connecting it to a cultural context by which to steer a listener's reactions, both intellectual and affective. Eighteenth-century writers on aesthetics recognized the role of textual “ideas” in the reception of music. Vivaldi's Il Proteo, ò Il mondo al rovverscio is regarded as a “trick piece” in which the solo violin and cello parts are “reversed,” each being written in the other's clef. The concerto, however, invokes a deeper conception of the mundus inversus metaphor, in that it constitutes a remarkably sophisticated exploration of upside-down compositional practices. While the opening movement challenges notions of “correct” musical syntax, evoking the Carnival celebrations of the “world upside down,” the last presents a well-ordered example of Vivaldian ritornello form. Vivaldi included Il Proteo as the first concerto in a large group sold to Pietro Ottoboni in the mid-1720s, twelve of which bear titles. Some are as concrete as “The Four Seasons,” but others are more abstract, deriving from affective or intellectual subjects such as“Il riposo.” Il Proteo, in this context, seems especially sophisticated, cleverly satirizing some of the composer's own trademark compositional techniques. Its self-conscious treatment of style appears to address contemporary debates regarding music's ability to carry “meaning,” an ability that members of Ottoboni's Arcadian Academy seemed to deny but that others, such as the philosopher Antonio Conti, endorsed. Might Vivaldi have fueled these debates with a provocative set of concertos headed by Il Proteo?
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Schwartz-Kates, Deborah. "Alberto Ginastera, Cello Concertos. Mark Kosower, cello; Bamberg Symphony Orchestra, Lothar Zagrosek, conductor. Naxos CD 8.572372, 2011./Astor Piazzolla, Tangos for Violin, Brass Quintet, and Percussion, arr. Donato De Sena. Quintetto d'Ottoni e Percussioni della Toscana; Andrea Tacchi, violin. Naxos CD 8.572611, 2010." Journal of the Society for American Music 6, no. 4 (November 2012): 497–500. http://dx.doi.org/10.1017/s1752196312000429.
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Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.
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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this study are to consider compositions by Ch.-M. Widor (Piano Concerto No.1, Fantasy, Piano Concerto No.2) both in terms of features of individual creator style and context of concert branch history in France. Information about works is supplemented by the analysis of the basic musical text parameters. Ch.-M. Widor graduated the Brussels Conservatory, where he was studied from 1859 to 1863 – in classes of organ (J.-N. Lemmens) and composition (F.-J. Fetis). At 1860s, the young man was visiting Paris. Soon he was acquainted with C. Saint-Saens, which infl uenced Ch.-M. Widor not only in terms of his executive career turn, but also was etalon of instrumental writing. It seems that the writing of instrumental Concertos for violin (ор. 26, 1877), cello (ор. 41, 1877), and piano (ор. 39, 1876) in many ways is owed by C.Saint-Saens and the impulse to French music of the 1870s given by him. Piano Concerto No.1 f-moll by Ch.-M.Widor was well appreciated by the contemporaries of the composer. In fi rst movement (Allegro con fuoco) the active narrative is combining with predominantly lyrical mood. It passes in constant pulsation without any whimsical tempo deviations, as well as without cadenza using. Contemplative and philosophical meditations are concentrated at the second movement (Andante religioso). The exposition of ideas is embodied in oppositions of characters, concentrated and depth in front of light and joyous. By the way, a little similar can be found in Andante sostenuto quasi adagio of Piano Concerto No.1 (published in 1875) by C. Saint-Saens. The cycle is crowned with a lively scherzo fi nal with elegant dotted rhythm using. On the whole we can say that the Piano Сoncerto No.1 by Ch.-M. Widor purposefully continues the traditions of C. Saint-Saens. This is noticeable in the clarity of the structure, emphatic melody, and also in some specifi c features – the avoidance of long-term solo cadenzas and the absence of expanded orchestra tutti’s, as well as the laconicism of development section at the fi rst movement. Echoes of F. Liszt and C. Franck can be heard in Fantasy As-dur op. 62 for piano and orchestra (1889, dedicated to I. Philipp). Ch.-M. Widor shows interest in this genre type as many other French authors at 1880–1890s. In work there are many counterpoint and variation elements, which is due to author’s mastery of organ-polifonic writing. In our opinion, eclectic combinations of the main subject in the spirit of F. Liszt – R. Wagner with oriental saucy theme at the end of composition are quite in the style of C. Saint-Saens. Piano Concerto No.2 c-moll (1905) is standing out with its clear attachment to the late-romantic line. It is somewhat out of the general context of genre existence in France, especially when comparing with signifi cantly more traditional Piano Concertos by B. Godard (No.2, 1894), C. Saint-Saens (No.5, 1896), T. Dubois (No.2, 1897), A. Gedalge (1899), J. Massenet (1902). This manifests itself in appeal to fateful gloomy spirit, abundance of dark paints in the sound, the complication of the tonal-harmonic language, increased expressivity, psychologization. Here are found more fi ne-tooth application of timbre orchestral potential (in comparison with the Piano Concerto No.1), as well as increasing of orchestra importance upon the whole. This is paradoxical, but its performing tradition has developed not in the best way, so that nowadays this remarkable work is very rarely heard at concert halls. In our time, the author’s creativity is a real terra incognita that encompasses a lot of hidden masterpieces. Results of the research bring to light that examined works by composer are outstanding illustrations of French romantic music. Ch.-M. Widor is an example of original talent that continues the late Romanticism line in France at the end of 19th and fi rst third of the 20th century, together with other authors – L. Vierne, V. d’Indy, A. Magnard, F. Schmitt. His works for piano and orchestra quite deserve to become on a par with recognized masterpieces, included in the concert repertoire of pianists and orchestras by different countries of the world. The perspectives of the further research are defi ned in more detailed analytical labors, including the extension of analysis over Violin Concerto op. 26 and Cello Concerto op. 41 by author. The learning of these works will allow to complement the history of the concert genre of French Romanticism with new details, that will enable to see the evidence of succession and the vitality of traditions.
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BALLIETT, DOUG. "JOHANN ADOLPH HASSE (1699–1783), JOHANN WILHELM HERTEL (1727–1789), CARL PHILIPP EMANUEL BACH (1714–1788) CELLO CONCERTOS Musica Viva / Alexander Rudin (soloist and conductor) Chandos 0813, 2016; one disc, 70 minutes." Eighteenth Century Music 14, no. 2 (August 30, 2017): 314–16. http://dx.doi.org/10.1017/s1478570617000185.
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Macdonald, Hugh R. N. "RIDOUT: Cello Concertos Nos.11,4, 21,5 and 31,4; The Emperor and the Bird of Paradise2,3. 1Gerard Leclerc (vlc), 2Joanna Lumley (narrator), 3Paul edmund-Davies (fl), 4English Chamber Orchestra, 5Laudibus, c. Stephen Barlow. Black Box BBM 1037." Tempo 58, no. 227 (January 2004): 73–74. http://dx.doi.org/10.1017/s0040298204260065.
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Hewett, Ivan, Ligeti, Ensemble Modern, Peter Eotvos Miklos Perenyi, and Ueli Wiget. "Cello Concerto; Chamber Concerto; Piano Concerto." Musical Times 135, no. 1818 (August 1994): 515. http://dx.doi.org/10.2307/1003340.
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Thomas, Gavin, Heinrich Schiff, Heinz Holliger, Hakan Hardenberger, SWF SO Baden-Baden, Michael Gielen, Saschko Gawriloff, Siegfried Palm, Alfons, and Aloys Kontarsky. "Cello Concerto, Oboe Concerto, Trumpet Concerto, Canto di speranza." Musical Times 135, no. 1812 (February 1994): 108. http://dx.doi.org/10.2307/1002990.
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Gorodecki, Michael, Jonathan Harvey, Frances-Marie Uitti, John Casken, Heinrich Schiff, Andrzej Panufnik, Mstislav Rostropovich, et al. "Cello Concerto; Works for Cello." Musical Times 134, no. 1805 (July 1993): 408. http://dx.doi.org/10.2307/1003108.
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Novak, John. "Dvorak: Cello Concerto (review)." Notes 57, no. 1 (2000): 142–43. http://dx.doi.org/10.1353/not.2000.0046.
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TOLLEY, THOMAS. "JAMES CERVETTO AND THE ORIGIN OF HAYDN'S D MAJOR CELLO CONCERTO." Eighteenth Century Music 16, no. 1 (February 14, 2019): 9–29. http://dx.doi.org/10.1017/s1478570618000325.
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ABSTRACTHaydn's D major cello concerto has traditionally been associated with Anton Kraft, a performer in Haydn's orchestra at Eszterháza during the 1780s. Before Haydn's autograph came to light in the 1950s, many authorities had accepted apparent evidence that Kraft was the concerto's composer. Even after the autograph's rediscovery, the seeming connection of the concerto with Kraft appeared so compelling that it was widely assumed he participated in the compositional process. This article demonstrates that Kraft's connection with the concerto was actually fabricated in the 1830s. Contemporary reports show that the concerto was in fact composed for the distinguished virtuoso James Cervetto, who performed it in London in 1784. Both the distinctive characteristics of the concerto, often regarded by commentators as indications of compositional weakness, and also its exceptional technical challenges are here interpreted as responses to Cervetto's singular musical temperament and exceptional proficiency, communicated to Haydn through the commission.
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Ivanov, A. I. "FROM THE LEGACY OF N. A. RIMSKY-KORSAKOV: CONCERTO FOR TROMBONE AND BRASS BAND." Arts education and science 2, no. 31 (2022): 85–90. http://dx.doi.org/10.36871/hon.202202011.
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The article deals with the Concerto for Trombone and Brass Orchestra by N. A. Rimsky-Korsakov (1877) as one of the first compositions of this genre in Russia. The context of the work is created by the composer's own concert works and early scores for trombone and orchestra by European masters (G. Wagenseil, L. Mozart, F. David). A brief digression into history allowed us to mention the authors who have included trombones in opera scores (D. Meyerbeer, R. Wagner) and to name J. Raff, who was one of the first to use trombones in his violin, cello and piano concerts. It is emphasized that Rimsky-Korsakov's Concerto displays some important properties of F. Liszt's and M. Glinka's writing principles, there is a tangible reliance on the traditions of his contemporaries — M. Balakirev and P. Tchaikovsky. The result is an original, colourful concert composition, which shows the different possibilities of a solo instrument, including its virtuoso and cantilena, capable of revealing the lyrical content of the images. The Concerto's cadences are highlighted with a clear reminder of opera recitative scenes. A detailed analysis of the musical text is given, the specificity of its musical language is identified.
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Y, Elshimali. "Chimeric Antigen Receptor T-Cell Therapy (Car T-Cells) in Solid Tumors, Resistance and Success." Bioequivalence & Bioavailability International Journal 6, no. 1 (2022): 1–6. http://dx.doi.org/10.23880/beba-16000163.
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CARs are chimeric synthetic antigen receptors that can be introduced into an immune cell to retarget its cytotoxicity toward a specific tumor antigen. CAR T-cells immunotherapy demonstrated significant success in the management of hematologic malignancies. Nevertheless, limited studies are present regarding its efficacy in solid and refractory tumors. It is well known that the major concerns regarding this technique include the risk of relapse and the resistance of tumor cells, in addition to high expenses and limited affordability. Several factors play a crucial role in improving the efficacy of immunotherapy, including tumor mutation burden (TMB), microsatellite instability (MSI), loss of heterozygosity (LOH), the APOBEC Protein Family, tumor microenvironment (TMI), and epigenetics. In this minireview, we address the current and future applications of CAR T-Cells against solid tumors and their measure for factors of resistance and success.
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Rickards, Guy. "Nordheim - NORDHEIM: Complete accordion works. Spur3; Signals1–2. Dinosauros; Flashing. Frode Haltli (acc), 1Raoul Björkenheim (elec gtr), 2Hans-Kristian Kjos Sørenson (perc), 3Norwegian Radio Orchestra c. Christian Eggen. Aurora PSC 1328. - ‘momentum’: cello concertos by NØRGÅRD (No. 2, Momentum); NORDHEIM, orch. BYWALEC (Tenebrae); SAARIAHO (No. 1, Amers). Jakob Kullberg (vlc), New Music Orchestra c. Szymon Bywalec. Aurora ACD5075." Tempo 67, no. 265 (July 2013): 105–6. http://dx.doi.org/10.1017/s0040298213000661.
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Dosch, H. M., P. Lam, M. F. Hui, and T. Hibi. "Concerted generation of Ig isotype diversity in human fetal bone marrow." Journal of Immunology 143, no. 8 (October 15, 1989): 2464–69. http://dx.doi.org/10.4049/jimmunol.143.8.2464.
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Abstract The human fetal bone marrow B cell compartment of 14- to 21-wk gestational age was examined phenotypically and with respect to Ig H chain commitment and diversity. A dramatic expansion of fetal marrow B cell pools at 16- to 18-wk gestational age characterizes a rapid and concerted chain of differentiation events. Transiently up to 1/4 of nucleated marrow cells are CD20+/CD21+ cells which begin to express surface Ig other than IgM. Limiting dilution analysis of EBV-infected marrow cells delineated a virtually exclusive commitment to IgM production until 15 wk and the absolute and relative number of these cells were small (approximately 5% of comparable adult values). In parallel to the rapid increase in total B cell pools size, cells committed and able to secrete any of the five Ig isotypes are generated by 16-wk gestational age and by 18 wk the frequencies of these cells rapidly reach levels typical for adult peripheral tissue such as blood or lymph node. Fetal L chain diversity always anticipated that observed in adult serum. In addition to rising pool sizes and diverse IgH expression, EBV transformability is a major variable during this period of B cell development with up to 2/3 of B lineage cells transformable, about half of which are pre-B cells. By 21-wk gestational age transformable pre-B cells have disappeared and (as in adult tissue) approximately 10 to 20% of CD20+ cells are transformable. The rapid, concerted expression of full H chain diversity during a narrow period in fetal development is unique to marrow and implies a lymphopoietic process in a privileged site rather than an immunologic differentiation event. During this event, the relative proportions between the different IgH classes expressed, resembled that found in adult tissue, perhaps suggesting that B cell inherent programming rather than only antigenic forces determine heavy chain choice. The staggered expression, early in postnatal life, of IgH regions 3' of the C mu locus may reflect regulatory functions rather than inherent immaturity of the B lineage.
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Parker, Robert L. "Carlos Chavez's Opus Ultimum: The Unfinished Cello Concerto." American Music 11, no. 4 (1993): 473. http://dx.doi.org/10.2307/3052541.
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Dixon, Gavin. "St Petersburg, Shostakovich Hall: Gabriel Prokofiev's Cello Concerto." Tempo 67, no. 266 (October 2013): 78–79. http://dx.doi.org/10.1017/s0040298213000922.
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When Gabriel Prokofiev first came to prominence in the UK, comparisons were inevitably made with his famous grandfather. Gabriel has since forged a distinctive musical identity for himself, making the shared name all but irrelevant. But in Russia that name carries even greater significance, so it was little surprise that the world première of Gabriel's Cello Concerto in Saint Petersburg, on 18 May, was in a concert that included at least two Prokofievs. In fact, a third Prokofiev was also featured, as the event began with poetry by Oleg: Gabriel's father and Sergei's son.
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Zolotareva, Natalia, and Maria Panchenko. "The features of the interpretation Concert e-moll for cello and orchestra by A. Khachaturyan." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 170–81. http://dx.doi.org/10.33287/222044.
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The purpose of this scientific represented publication is to reveal the peculiarities of the interpretation of the concerto in e-moll for cello and orchestra by Aram Khachaturian into representatives of different cello schools. The research methods is based on general scientific principles of research, such as analysis, synthesis, deduction, induction and special, a namely historical approach, method of interpretative analysis, comparative way, performance analysis and many others scientific manners. The scientific novelty of this submitted research article is that for the first time in domestic musicology the performing analysis of Aram Khachaturian’s cello concerto by musicians Denis Shapovalov and Jan Maksin was studied by investigators of this scientific article. The conclusions of the represented research publication to indicate that the famous cello concerto e-minor by Aram Khachaturian in the interpretation of representatives for different cello schools has a number of significant differences from the author’s musical text. The specialized performance of this concert by amazingly famous cellists concerns the tempo, strokes, dynamics, phrasing, but at the same time, both Denis Shapovalov and Jan Maksin sought in their performance interpretations to reveal the composer’s idea in accordance with Aram Khachaturian’s own sense of music. Comparing the performance interpretations of the concerto in E minor for cello with the orchestra of Aram Khachaturian, it was determined that they are due to the personal qualities of the performers. The all „borders” were opened for astonishingly famous instrumentalists Denis Shapovalov and Jan Maksin to reveal their own feelings and fantasies awakened by Aram Khachaturian’s music. Each of the well-known cellists demonstrated their own vision of the concert, and their performance interpretations revealed the composer’s idea.
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Choi, Jae-you. "A Cognitive Analysis of the Metaphor of Subject and Self in Great Expectations." Convergence English Language & Literature Association 7, no. 3 (December 31, 2022): 193–221. http://dx.doi.org/10.55986/cell.2022.7.3.193.
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This paper examines self, subject and cognitive neural network, showing that language of literature has a place in cognitive metaphor study. I raise some popular matters of the principle of metaphors; ‘cognitive linguistic metaphor theory’, self-subject metaphor more widely, inside the cognitive science of philosophical thought. The study of self-subject concerns the structure of our inner lives. Metaphor is a primary implement for understanding ourselves and our world, and entering into an contract with forceful metaphors is grappling in an important way with what it means to have a human life. I try to check up the cognitive linguistic metaphoric method of Great Expectations. As a result of analyzing, this research proposes that critical thought in consilience of the researches raised problems as to our basic principles and gave them fresh creative theories.
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Popuri, Suseela Keerti. "Concerns of a Pediatric Dentist in Dental Stem Cells: An Overview." Open Dentistry Journal 12, no. 1 (August 31, 2018): 596–604. http://dx.doi.org/10.2174/1745017901814010596.
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Stem cell biology has become an essential part of regenerative medicine and dentistry. The fact of availability of these stem cells among various dental tissues has doubled the researcher’s enthusiasm in the recent years due to fewer ethical constraints and minimally invasive nature. Stem cells from deciduous tooth among the dental stem cells are the ones obtained with least or no trauma. To date, enormous research has been reported on dental stem cells. The purpose of this review is to focus only on certain aspects of dental stem cells that are important to the specialty of pedodontics. Thus, a detailed emphasis is given on stem cells obtained from human deciduous teeth including their harvesting and storage techniques.
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MEYER–HERMANN, MICHAEL. "A CONCERTED ACTION OF B CELL SELECTION MECHANISMS." Advances in Complex Systems 10, no. 04 (December 2007): 557–80. http://dx.doi.org/10.1142/s0219525907001276.
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Mathematical modeling of complex biological systems has been shown to lead to contradictory results. Two completely different approaches are compared using a highly dynamic system of the adaptive immune response with medical relevance. In germinal centers, high affinity antibodies are newly generated from antigen-activated B cell clones. The encoded antibody is mutated and high affinity clones for a specific antigen are selected to survive, giving rise to affinity maturation of antibodies. Here, the general assumption that competition for antigen held on follicular dendritic cells is responsible for affinity maturation is shown to be unlikely. This finding is based on the investigation of eight different selection mechanisms. A realistic model on selection mechanisms leading to affinity maturation is developed. It is found that negative selection of B cell, a B cell refractory time for binding antigen, and competition for T cell help, have strongest impact on affinity maturation. Antigen consumption is demonstrated to have impact on the kinetics of the germinal center in the late phase of the reaction and is hypothesized to be responsible for the termination of the reaction. These results are consistently found with agent-based and ordinary differential equation approaches and can, thus be considered to be robust. Experimental tests of the predicted selection mechanisms are proposed.
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Nikolic, Olivera. "Ivan Jevtic’s musical universe at a crossroads of traditional and new music expression. Tendencies of changes on the example of selected works of the concert genre." Muzikologija, no. 23 (2017): 219–37. http://dx.doi.org/10.2298/muz1723217n.
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Our interest in the position and significance of the concert music of Ivan Jevtic in the development of this genre in the Serbian music of the second half of the 20th century is based on several facts. Judging from the number of concerts and the variety of their stylistic, aesthetic, technical, expressive and historical qualities, Jevtic comes across as a composer who was the pioneer of several particular and general tendencies in the development of Serbian concert music, especially when we have the following in mind: his relationship to the musical heritage; his aspirations to master new contemporary tendencies; the time of general stylistic turmoil; compositional techniques etc. The comparative analysis of three concerts: Concerto for Tuba, Cello Symphony and Concerto for Viola points to the basic elements of traditional heritage, his reshaping of this heritage, as well as the elements of modern musical expression in the works of this composer. The analyzed paths of a part of his entire oeuvre do not exemplify the complete development of the concert genre in the Serbian music of the second half of the 20th century but, alongside with other important aspects such as historical, aesthetic, technical etc. they assist us in a better understanding of the tendencies in the development of this genre in Serbia, but also of the tendencies in Serbian music after 1945.
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Meister, M., L. Lagnado, and D. A. Baylor. "Concerted Signaling by Retinal Ganglion Cells." Science 270, no. 5239 (November 17, 1995): 1207–10. http://dx.doi.org/10.1126/science.270.5239.1207.
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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
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Mañes, Santos, Emilia Mira, Concepción Gómez-Mouton, Zhizuang Joe Zhao, Rosa Ana Lacalle, and Carlos Martínez-A. "Concerted Activity of Tyrosine Phosphatase SHP-2 and Focal Adhesion Kinase in Regulation of Cell Motility." Molecular and Cellular Biology 19, no. 4 (April 1, 1999): 3125–35. http://dx.doi.org/10.1128/mcb.19.4.3125.
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ABSTRACT The coordinated interplay of substrate adhesion and deadhesion is necessary for cell motility. Using MCF-7 cells, we found that insulin-like growth factor I (IGF-I) induces the adhesion of MCF-7 to vitronectin and collagen in a dose- and time-dependent manner, suggesting that IGF-I triggers the activation of different integrins. On the other hand, IGF-I promotes the association of insulin receptor substrate 1 with the focal adhesion kinase (FAK), paxillin, and the tyrosine phosphatase SHP-2, resulting in FAK and paxillin dephosphorylation. Abrogation of SHP-2 catalytic activity with a dominant-negative mutant (SHP2-C>S) abolishes IGF-I-induced FAK dephosphorylation, and cells expressing SHP2-C>S show reduced IGF-I-stimulated chemotaxis compared with either mock- or SHP-2 wild-type-transfected cells. This impairment of cell migration is recovered by reintroduction of a catalytically active SHP-2. Interestingly, SHP-2-C>S cells show a larger number of focal adhesion contacts than wild-type cells, suggesting that SHP-2 activity participates in the integrin deactivation process. Although SHP-2 regulates mitogen-activated protein kinase activity, the mitogen-activated protein kinase kinase inhibitor PD-98059 has only a marginal effect on MCF-7 cell migration. The role of SHP-2 as a general regulator of cell chemotaxis induced by other chemotactic agents and integrins is discussed.
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van Helden, Mary J., Steven Goossens, Cécile Daussy, Anne-Laure Mathieu, Fabrice Faure, Antoine Marçais, Niels Vandamme, et al. "Terminal NK cell maturation is controlled by concerted actions of T-bet and Zeb2 and is essential for melanoma rejection." Journal of Experimental Medicine 212, no. 12 (October 26, 2015): 2015–25. http://dx.doi.org/10.1084/jem.20150809.
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Natural killer (NK) cell maturation is a tightly controlled process that endows NK cells with functional competence and the capacity to recognize target cells. Here, we found that the transcription factor (TF) Zeb2 was the most highly induced TF during NK cell maturation. Zeb2 is known to control epithelial to mesenchymal transition, but its role in immune cells is mostly undefined. Targeted deletion of Zeb2 resulted in impaired NK cell maturation, survival, and exit from the bone marrow. NK cell function was preserved, but mice lacking Zeb2 in NK cells were more susceptible to B16 melanoma lung metastases. Reciprocally, ectopic expression of Zeb2 resulted in a higher frequency of mature NK cells in all organs. Moreover, the immature phenotype of Zeb2−/− NK cells closely resembled that of Tbx21−/− NK cells. This was caused by both a dependence of Zeb2 expression on T-bet and a probable cooperation of these factors in gene regulation. Transgenic expression of Zeb2 in Tbx21−/− NK cells partially restored a normal maturation, establishing that timely induction of Zeb2 by T-bet is an essential event during NK cell differentiation. Finally, this novel transcriptional cascade could also operate in human as T-bet and Zeb2 are similarly regulated in mouse and human NK cells.
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Nam, Sun Ah, Eunjeong Seo, Jin Won Kim, Hyung Wook Kim, Hong Lim Kim, Kyuryung Kim, Tae-Min Kim, et al. "Graft immaturity and safety concerns in transplanted human kidney organoids." Experimental & Molecular Medicine 51, no. 11 (November 2019): 1–13. http://dx.doi.org/10.1038/s12276-019-0336-x.
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AbstractFor chronic kidney disease, regeneration of lost nephrons with human kidney organoids derived from induced pluripotent stem (iPS) cells is proposed to be an attractive potential therapeutic option. It remains unclear, however, whether organoids transplanted into kidneys in vivo would be safe or functional. Here, we purified kidney organoids and transplanted them beneath the kidney capsules of immunodeficient mice to test their safety and maturity. Kidney organoid grafts survived for months after transplantation and became vascularized from host mouse endothelial cells. Nephron-like structures in grafts appeared more mature than kidney organoids in vitro, but remained immature compared with the neighboring mouse kidney tissue. Ultrastructural analysis revealed filtration barrier-like structures, capillary lumens, and tubules with brush border in the transplanted kidney organoids, which were more mature than those of the kidney organoids in vitro but not as organized as adult mammalian kidneys. Immaturity was a common feature of three separate differentiation protocols by immunofluorescence analysis and single cell RNA sequencing. Stroma of transplanted kidney organoid grafts were filled with vimentin-positive mesenchymal cells, and chondrogenesis, cystogenesis, and stromal expansion were observed in the long term. Transcription profiles showed that long-term maintenance after kidney organoid transplantation induced transcriptomic reprogramming with prominent suppression of cell-cycle-related genes and upregulation of extracellular matrix organization. Our data suggest that kidney organoids derived from iPS cells may be transplantable but strategies to improve nephron differentiation and purity are required before they can be applied in humans as a therapeutic option.
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Hashemian, Seyed Jafar, Marjan Kouhnavard, and Ensieh Nasli-Esfahani. "Mesenchymal Stem Cells: Rising Concerns over Their Application in Treatment of Type One Diabetes Mellitus." Journal of Diabetes Research 2015 (2015): 1–19. http://dx.doi.org/10.1155/2015/675103.
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Type 1 diabetes mellitus (T1DM) is an autoimmune disorder that leads to beta cell destruction and lowered insulin production. In recent years, stem cell therapies have opened up new horizons to treatment of diabetes mellitus. Among all kinds of stem cells, mesenchymal stem cells (MSCs) have been shown to be an interesting therapeutic option based on their immunomodulatory properties and differentiation potentials confirmed in various experimental and clinical trial studies. In this review, we discuss MSCs differential potentials in differentiation into insulin-producing cells (IPCs) from various sources and also have an overview on currently understood mechanisms through which MSCs exhibit their immunomodulatory effects. Other important issues that are provided in this review, due to their importance in the field of cell therapy, are genetic manipulations (as a new biotechnological method), routes of transplantation, combination of MSCs with other cell types, frequency of transplantation, and special considerations regarding diabetic patients’ autologous MSCs transplantation. At the end, utilization of biomaterials either as encapsulation tools or as scaffolds to prevent immune rejection, preparation of tridimensional vascularized microenvironment, and completed or ongoing clinical trials using MSCs are discussed. Despite all unresolved concerns about clinical applications of MSCs, this group of stem cells still remains a promising therapeutic modality for treatment of diabetes.
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Sanders, KM. "Colonic Electrical Activity: Concerto for Two Pacemakers." Physiology 4, no. 5 (October 1, 1989): 176–81. http://dx.doi.org/10.1152/physiologyonline.1989.4.5.176.
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In the proximal colon, two discrete pacemaker populations exist: one group of cells generates the 6-cycle/min rhythm known as slow waves;other cells generate a 17-cycle/min rhythm termed myenteric potential oscillations. Summation of these events in the circular muscle provides the signal for escitation-contraction coupling. This article describes the origin and integration of pacemaker activities in the colon.
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Galli, Stephen J., Nicolas Gaudenzio, and Mindy Tsai. "Mast Cells in Inflammation and Disease: Recent Progress and Ongoing Concerns." Annual Review of Immunology 38, no. 1 (April 26, 2020): 49–77. http://dx.doi.org/10.1146/annurev-immunol-071719-094903.
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Mast cells have existed long before the development of adaptive immunity, although they have been given different names. Thus, in the marine urochordate Styela plicata, they have been designated as test cells. However, based on their morphological characteristics (including prominent cytoplasmic granules) and mediator content (including heparin, histamine, and neutral proteases), test cells are thought to represent members of the lineage known in vertebrates as mast cells. So this lineage presumably had important functions that preceded the development of antibodies, including IgE. Yet mast cells are best known, in humans, as key sources of mediators responsible for acute allergic reactions, notably including anaphylaxis, a severe and potentially fatal IgE-dependent immediate hypersensitivity reaction to apparently harmless antigens, including many found in foods and medicines. In this review, we briefly describe the origins of tissue mast cells and outline evidence that these cells can have beneficial as well as detrimental functions, both innately and as participants in adaptive immune responses. We also discuss aspects of mast cell heterogeneity and comment on how the plasticity of this lineage may provide insight into its roles in health and disease. Finally, we consider some currently open questions that are yet unresolved.
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Szwast, Maciej, Teresa Suchecka, and Wojciech Piątkiewicz. "Mathematical model for biological cell deformation in a cylindrical pore." Chemical and Process Engineering 33, no. 3 (October 1, 2012): 385–96. http://dx.doi.org/10.2478/v10176-012-0034-x.
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Abstract Some studies show that cells are able to penetrate through pores that are smaller than cell size. It concerns especially Red Blood Cells but it also may concern different types of biological cells. Such penetration of small pores is a very significant problem in the filtration process, for example in micro- or ultrafiltration. Deformability of cells allows them to go through the porous membrane and contaminate permeate. This paper shows how cells can penetrate small cylindrical holes and tries to assess mechanical stress in a cell during this process. A new mathematical approach to this phenomenon was presented, based on assumptions that were made during the microscopic observation of Red Blood Cell aspiration into a small capillary. The computational model concerns Red Blood Cell geometry. The mathematical model allows to obtain geometrical relation as well as mechanical stress relations.
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Ferrari, Roberto, Carlo A. Beltrami, and Luigi Tavazzi. "Concerns and Hopes for Stem Cell Therapy in Cardiology: Focus on Endothelial Progenitor Cells." Cardiovascular & Hematological Disorders-Drug Targets 10, no. 3 (September 1, 2010): 216–23. http://dx.doi.org/10.2174/1871529x11006030216.
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Ragkousi, Katerina, and Matthew C. Gibson. "Epithelial integrity and cell division: Concerted cell cycle control." Cell Cycle 17, no. 4 (February 16, 2018): 399–400. http://dx.doi.org/10.1080/15384101.2017.1372551.
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BOSTAN, Maria-Cristina. "Dmitri Shostakovich – Concerto no.2 for cello and orchestra op.126." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 61–70. http://dx.doi.org/10.31926/but.pa.2019.12.61.29.
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Haseli, Mahsa, and Akbar Esmaeili. "Concerns About Mesenchymal Stem Cell Therapy." International Clinical Neuroscience Journal 8, no. 1 (December 30, 2020): 1–2. http://dx.doi.org/10.34172/icnj.2021.01.
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Kapustay, Pamela M. "Blood cell transplantation: Concepts and concerns." Seminars in Oncology Nursing 13, no. 3 (August 1997): 151–63. http://dx.doi.org/10.1016/s0749-2081(97)80031-9.
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Sheibani, Nader, and William A. Frazier. "Down-Regulation of Platelet Endothelial Cell Adhesion Molecule-1 Results in Thrombospondin-1 Expression and Concerted Regulation of Endothelial Cell Phenotype." Molecular Biology of the Cell 9, no. 4 (April 1998): 701–13. http://dx.doi.org/10.1091/mbc.9.4.701.
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bEND.3 cells are polyoma middle T-transformed mouse brain endothelial cells that express very little or no thrombospondin-1, a natural inhibitor of angiogenesis, but express high levels of platelet endothelial cell adhesion molecule-1 (PECAM-1) that localizes to sites of cell–cell contact. Here, we have examined the role of PECAM-1 in regulation of bEND.3 cell proliferation, migration, morphogenesis, and hemangioma formation. We show that down-regulating PECAM-1 expression by antisense transfection of bEND.3 cells has a dramatic effect on their morphology, proliferation, and morphogenesis on Matrigel. There is an optimal level for PECAM-1 expression such that high levels of PECAM-1 inhibit, whereas moderate levels of PECAM-1 stimulate, endothelial cell morphogenesis. The down-regulation of PECAM-1 in bEND.3 cells resulted in reexpression of endogenous thrombospondin-1 and its antiangiogenic receptor CD36. The expression of the vascular endothelial growth factor receptors flk-1 and flt-1, as well as integrins and metalloproteinases (which are involved in angiogenesis), were also affected. These observations are consistent with the changes observed in proliferation, migration, and adhesion characteristics of the antisense-transfected bEND.3 cells as well as with their lack of ability to form hemangiomas in mice. Thus, a reciprocal relationship exists between thrombospondin-1 and PECAM-1 expression, such that these two molecules appear to be constituents of a “switch” that regulates in concert many components of the angiogenic and differentiated phenotypes of endothelial cells.
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Josephson, Nors S. "Unifying stylistic syntheses in the late compositions (1939–1945) of Béla Bartók." Studia Musicologica 58, no. 2 (June 2017): 147–73. http://dx.doi.org/10.1556/6.2017.58.2.2.
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Bartók’s later works from the years 1939–1945 present an impressive synthesis of his musical innovations. Beginning with the Divertimento and Sixth String Quartet (both composed in 1939), the Hungarian composer starts with a freely tonal, neo-Classical foundation. Above this initial compositional level he then superimposes Beethovenian formal structures gleaned from the latter’s opp. 53 and 135, in addition to a prominent Stravinsky quotation from The Rite of Spring, part two. In both works Bartók achieves an impressive large-scale cyclical unity, frequently through wholetone scalar integration. The Concerto for Orchestra (1943) blends pervasive quotation techniques with analogous cyclical intervallic patterns, such as major third cells on F–A–D4. One is again distinctly reminded of the F Major Divertimento. Like the latter work, the Concerto is especially notable for its expansive codas, which function in the manner of Beethovenian second developments. Similarly, the Sonata for Solo Violin (1944) fuses neo-Bachian counterpoint with the expansive forms of the Concerto for Orchestra. Finally, the interrelated last two Concertos for piano and viola (both penned in 1945) present a cumulative synthesis of Bartókʼs later style, emphasizing the tertial (and modal) degrees of VI and flattened VI. Here, too, we encounter elaborate quotational systems that distantly recall the 1910s and 1920s music of French composers as Debussy, Ravel and Satie.
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Thakur, Kiran, and Allan Ropper. "Transient global amnesia during a professional cello concert." Journal of Clinical Neuroscience 18, no. 9 (September 2011): 1260–61. http://dx.doi.org/10.1016/j.jocn.2011.01.009.
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Tomasello,, Elena, Mathieu Blery, Eric Vely, and Eric Vivier. "Signaling pathways engaged by NK cell receptors: double concerto for activating receptors, inhibitory receptors and NK cells." Seminars in Immunology 12, no. 2 (April 2000): 139–47. http://dx.doi.org/10.1006/smim.2000.0216.
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Goetz, Jacky G., Bharat Joshi, Patrick Lajoie, Scott S. Strugnell, Trevor Scudamore, Liliana D. Kojic, and Ivan R. Nabi. "Concerted regulation of focal adhesion dynamics by galectin-3 and tyrosine-phosphorylated caveolin-1." Journal of Cell Biology 180, no. 6 (March 17, 2008): 1261–75. http://dx.doi.org/10.1083/jcb.200709019.
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Both tyrosine-phosphorylated caveolin-1 (pY14Cav1) and GlcNAc-transferase V (Mgat5) are linked with focal adhesions (FAs); however, their function in this context is unknown. Here, we show that galectin-3 binding to Mgat5-modified N-glycans functions together with pY14Cav1 to stabilize focal adhesion kinase (FAK) within FAs, and thereby promotes FA disassembly and turnover. Expression of the Mgat5/galectin lattice alone induces FAs and cell spreading. However, FAK stabilization in FAs also requires expression of pY14Cav1. In cells lacking the Mgat5/galectin lattice, pY14Cav1 is not sufficient to promote FAK stabilization, FA disassembly, and turnover. In human MDA-435 cancer cells, Cav1 expression, but not mutant Y14FCav1, stabilizes FAK exchange and stimulates de novo FA formation in protrusive cellular regions. Thus, transmembrane crosstalk between the galectin lattice and pY14Cav1 promotes FA turnover by stabilizing FAK within FAs defining previously unknown, interdependent roles for galectin-3 and pY14Cav1 in tumor cell migration.
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Kleindienst, Petra, and Thomas Brocker. "Concerted antigen presentation by dendritic cells and B cells is necessary for optimal CD4 T-cell immunity in vivo." Immunology 115, no. 4 (August 2005): 556–64. http://dx.doi.org/10.1111/j.1365-2567.2005.02196.x.
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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.
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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.