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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.
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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Green, Edward. "Interview with Composer George Tsontakis." ICONI, no. 2 (2020): 38–49. http://dx.doi.org/10.33779/2658-4824.2020.2.038-049.
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This interview for the journal ICONI, taken by Dr. Edward Green, Professor at the Manhattan School of Music, is with one of the leading composers of the United States, George Tsontakis. A professor at Bard Conservatory of Music, he is the recipient of numerous awards for his work, including the prestigious Grawmeyer Award for his Second Violin Concerto. Professor Tsontakis’ work — nearly all of it commissioned — is wide-ranging in terms of genre, imaginative in its orchestrations, and always strongly emotional. Included in this interview are discussions of some of the biographical background to a number of his major pieces, including The Past, The Passion. Among the subjects discussed is the meaning of “concerto.” Several of his concertos and concerto-like compositions are specifically discussed in this interview, including Man of Sorrows (piano), and Sonnets (English Horn). The interview also touches upon his relations with two important American composers of earlier generation: George Rochberg, and Roger Sessions — who had been Tsontakis’ teacher of composition at Julliard.
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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”.
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Rakochi, Vadym. "TIMBRAL ALTERNATIONS IN TCHAIKOVSKY’S VIOLIN CONCERTO AS A MULTIFUNCTIONAL SYSTEM." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 257–61. http://dx.doi.org/10.32461/2226-3209.2.2021.240077.
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The purpose of the article is to consider the alternations in Tchaikovsky’s Violin Concerto as a multifunctional system. The methodology includes score analysis as a way to determine the functions of different instruments in the Concerto and variants of their interaction; stylistic analysis is applied in order to highlight the specific features of the presentation in the orchestra of Tchaikovsky; comparative method allows us to compare the features of the orchestra in different concertos of other composers. The scientific novelty lies in the interpretation of the alternations in the Violin Concerto as an interconnected system with multifaceted influence. This paper aims to examine timbral alternations in the Concerto. On the first layer, there are alternations as a means to expose musical material: the change of timbre becomes an impetus to deploy the theme. On the second layer, there are alternations as a means of expression: a lyrical mood receives a touch of joy, a dramatic component strength, the foreground/background comparisons give a three-dimensional effect. On the third level, the alternations have form-defining function. They mark the end of a section when thematically different but emotionally identical material appears; recall the ‘remote alternations’ (tutti – tutti frame the development in the first movement). On the fourth layer, the alternations reflect Tchaikovsky’s style: his reliance on the strings’ timbers, particular attention to woodwind instruments and the horn, and a number of ‘in-the-orchestra’ soloists. Conclusions. The alternations enhance the concertizing effect, enforce the timbre and texture contrasts, add particular dynamization, and contribute to the active involvement of the orchestra in a development process by making the interaction between the soloist and the orchestra, and within the orchestra itself, much more expressive. Such a diversity of alternations creates a multifunctional system that became a distinctive feature of the Concerto.
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Adlington, Robert, Holloway, Kovacic, Tuckwell, SCO, Bamert, Ligeti, et al. "Violin Concerto; Horn Concerto." Musical Times 136, no. 1825 (March 1995): 163. http://dx.doi.org/10.2307/1004015.
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Gîscă, Petrea. "7. Franz Joseph Strauss, a Joachim of the Horn." Review of Artistic Education 1, no. 23 (April 1, 2022): 53–60. http://dx.doi.org/10.2478/rae-2022-0007.
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Abstract Franz Joseph Strauss was one of the brightest horns of the 19th century. He was born in Germany and worked all his life in Munich, being a first - horn player, composer, conductor and teacher. As a composer he wrote two concerts for horn and orchestra and several pieces for horn and piano, most of them, the author singing them in the first absolute audition. As a teacher, he participated in the creation of a German horn school, and his studies for natural horn are still valid today. Difficult and sometimes misunderstood by musicians of the time, Franz Strauss remains a landmark in the history of the horn and a legend in the art of horn performance.
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Jeurissen, Herman. "Mozart's Very First Horn Concerto." Historic Brass Society Journal 3 (1991): 48–55. http://dx.doi.org/10.2153/0119910011006.
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Gibson, Ronnie, and Michael Talbot. "Mudge's Medley Concerto." Journal of the Royal Musical Association 144, no. 1 (2019): 1–28. http://dx.doi.org/10.1080/02690403.2019.1575587.
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AbstractA previously unnoticed concerto for two horns and strings published anonymously in London probably in late 1757 or 1758 is attributable to Richard Mudge (1718–63), a clergyman-composer best known for his Six Concertos in Seven Parts. The print names it A Concerto Principally Form'd upon Subjects Taken from Three Country Dances, and there is evidence to suggest that it is identical to the Medley Concerto listed elsewhere under Mudge's name. The concerto can in turn be linked to so-called ‘Medley Concerts’ that took place in London in 1757. The country dances, on whose material Mudge draws with obvious respect for the originals, are all Scottish tunes found in James Oswald's slightly earlier collections. Mudge's original and attractive work testifies to the great interest in Scottish, in particular ‘Highland’, music in mid-eighteenth-century London, prompting reflection on the many-sided and surprisingly intimate relationship that then existed between traditional music and art music.
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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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Randhawa, Imtiaz A. S., Michael R. McGowan, Laercio R. Porto-Neto, Ben J. Hayes, and Russell E. Lyons. "DNA Testing and Genetic Evaluation for Poll Breeding in Tropically Adapted Beef Cattle." Proceedings 36, no. 1 (February 13, 2020): 98. http://dx.doi.org/10.3390/proceedings2019036098.
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In beef cattle, horn management is practiced to physically or surgically remove horns for the safety of animals and workers. However, invasive practices of dehorning and disbudding are a great threat to animal welfare, health, production and human safety, as well as labour intensive and costly. The most effective way to limit the impacts and costs of horns is to prevent their occurrences by breeding naturally polled (hornless) herds. Horn development is complex, although two mutually exclusive genetic variants (Celtic and Friesian) have been found prevalent on each copy of chromosome 1 in most polled cattle. Predicting genotypes in an animal is challenging. Available genetic testing assays were often limited in tropically adapted beef cattle. In this study we present a new optimized poll testing (OPT) assay, which has been bundled with SNP genotyping arrays being used for genomic evaluation in cattle. Breeding schemes can profile future parents for pure-polled stock based on the OPT results. We also evaluated the factors causing complexity in horn conditions. Thus, we coupled OPT predictions with head-status and sex distributions, by modelling genetic and non-genetic impacts, revealing that genetics, sex and sex hormones control horn ontology. Finally, concerns of polledness adversely affecting production and reproduction were investigated by using estimated breeding values of several beef traits. We found no detrimental effects of polledness on production or reproduction. Overall, this research concludes that genetically polled cattle will minimize issues about animal welfare and management costs without reducing production potentials in the tropically adapted beef cattle.
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Gómez, E., C. Díez, B. Trigal, M. Muñoz, F. Goyache, E. Correia, S. Carrocera, D. Martín, and J. N. Caamaño. "111 FUNCTIONAL AND MOLECULAR GENITAL ASYMMETRY IN THE COW." Reproduction, Fertility and Development 25, no. 1 (2013): 203. http://dx.doi.org/10.1071/rdv25n1ab111.
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Bilateral asymmetry in the cow affects ovarian function, uterine horn morphology, pregnancy, and embryonic sex. However, many aspects and molecular mechanisms of such laterality remain obscure. The objective of this work was identifying new traits of ovarian and uterine asymmetry, as based on oestrus and ovarian monitoring, P4 concentrations, early embryo development, flushing performance, and pregnancy outcomes after embryo transfer (ET). In addition, proteins identified in previous work by difference gel electrophoresis and mass spectrometry (DIGE-MS) in uterine fluid (UF) were reanalyzed in a horn-of-origin basis (n = 16 and n = 14 flushes from left and right horns, respectively; Muñoz et al. 2012 J. Proteome Res. 11, 751–766; Gómez et al. 2011 Reprod. Fert. Dev. 24, 152). Studies were performed in experimental herd and on field. Data were analyzed by Proc GLM of SAS/STAT (Version 9.2; SAS Inst. Inc., Cary, NC) and REGWQ test for means. In experimental herd, we analyzed ovarian and uterine asymmetry within animals (n = 25) monitored through different reproductive cycles (n = 109). Animals synchronised with progestagen + PGF2α were alternatively transferred with IVP embryos (n = 30–60) or vehicle (sham transfer) on Day 5 to ipsilateral horn. On Day 8, embryos and/or diluted UF were recovered by flushing with 30 or 45 mL PBS. Nonsignificant differences (P > 0.7) were obtained in ovulatory follicle diameters 48 h after PGF2α injection, onset oestrus time and recoverable total protein by flushing between animals ovulating in the left or in the right ovary. However, cows bearing the corpus luteum (CL) in the right ovary (i.e. right) had higher (26.3 ± 1.5) Day 8 P4 concentration than those showing a CL in the left ovary (i.e. left) (21.6 ± 1.8) (P = 0.03). Fluid recovery (%) was lower in the left (47.0 ± 6.3) than in the right (64.4 ± 5.0) horn when 30 mL were infused (P = 0.035); in contrast, 45 mL infused did not differ between horns (61.6 ± 4.1 v. 67.9 ± 4.1). Less total embryos were recovered from the left (14.6 ± 4.7) than the right (31.0 ± 3.7) horn (P < 0.02), although the relative proportions of viable embryos were conserved. Among 76 proteins analyzed, concentrations of VLCAD, KPYM, CFB, ALB, FGG, EZR, and ACTB were higher (P ≤ 0.05), while TWF1 and ENO1 were lower in the left horn. On field experiments (n = 184 ET in 286 synchronised animals from 39 farms; ≥3 ET per farm) confirmed on Day 7 the above differences in P4 (right: 8.3 ± 0.43 v. left: 6.1 ± 0.55; P = 0.0058). Pregnancy rates after ET did not differ between horns (51.0 ± 3.6, right v. 53.2 ± 4.7, left). However, P4 concentrations differ (P = 0.018) between pregnant and open animals in the left (15.9 ± 1.7 v. 8.3 ± 1.2) but not in the right horn (12.4 ± 1.3 v. 12.4 ± 1.2), respectively. Genital asymmetry in the cow has physical concerns (flushing and recoveries), while changes in P4 and/or proteins could operate to hold similar pregnancy rates between horns. Project AGL2009-10059 (MICINN). MM, BT and EC are sponsored by RYC08-03454, Cajastur and FPU2009-5265, respectively.
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Plotnikova, N. Yu. "FOUR-PART CHORAL CONCERTOS BY NIKOLAY DILETSKY: ON THE WAY TO PUBLICATION." Arts education and science 1, no. 4 (2020): 63–72. http://dx.doi.org/10.36871/hon.202004008.
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The author's discovery of 2012 four-part choral concertos by Nikolay Diletsky, an outstanding composer of the Baroque period, completed in 36, broadened the understanding of Russian Baroque music and the partes concerto genre. This was the starting point for preparing the works for publication (32 concertos are currently composed in full four-part scores). The article reveals the main stages of this path. Special attention is paid to source studies: searching in various archives in Russia and abroad for manuscripts containing Diletsky's concertos, attribution, dating and description of manuscript sources. Analyzing the paleographic features of manuscripts, their composition, the author makes assumptions and conclusions about the chronology and geography of Diletsky's concertos in Russia, about their demand in the singing repertoire of the last third of the XVIIth — late XVIIIth centuries, about the degree of popularity of certain concertos. Of particular importance is the discovery of the earliest manuscripts, which can be attributed to lifetime. The article examines various singing centers in Russia where manuscripts with Diletsky's concertos were created or preserved: Tobolsk, Novy Valaam and Yaroslavl, the largest center of the middle XVIIIth century.
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Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.
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The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.
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Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (April 2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.
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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the left and right of the conductor, whilst the first horn player sits apart from his colleagues and is mirrored by a fourth, offstage, horn player.
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Chawla, Malaika Mathew, Arjun Srivathsa, Priya Singh, Iravatee Majgaonkar, Sushma Sharma, Girish Punjabi, and Aditya Banerjee. "Do wildlife crimes against less charismatic species go unnoticed? A case study of Golden Jackal Canis aureus Linnaeus, 1758 poaching and trade in India." Journal of Threatened Taxa 12, no. 4 (March 26, 2020): 15407–13. http://dx.doi.org/10.11609/jott.5783.12.4.15407-15413.
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Wildlife crimes pertaining to lesser-known species do not usually garner adequate focus or interest by enforcement and conservation agencies. Additionally, illegal wildlife trade fuelled by religious beliefs in sorcery and superstition is an oft-neglected field of research. To draw attention to these two broad issues, we provide a baseline analysis of open-source reports on Golden Jackal Canis aureus poaching and trade in India. We highlight the pervasiveness of an active local and transnational ‘jackal horn’ trade, which is severely under-reported and insufficiently researched. News reports and government seizure data reveal that, between 2013 and 2019, 126 skins, eight tails, more than 370 ‘jackal horns’, 16 skulls and two live jackals have been seized. The demand for the illusionary ‘jackal horn’ appears to be driven by extensive online endorsement and unsubstantiated claims made by religious practitioners, targeted primarily at south Asian markets. This preliminary study is an urgent call for concerted efforts to monitor the illegal trafficking and trade of this common species, with a particular focus on the demand and supply chains.
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Caswell, Daryl. "The French horn versus the concert hall." Journal of the Acoustical Society of America 93, no. 4 (April 1993): 2303. http://dx.doi.org/10.1121/1.406438.
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Murray, Sterling E. "The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court." Journal of Musicology 4, no. 4 (1986): 507–34. http://dx.doi.org/10.2307/763754.
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Murray, Sterling E. "The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court." Journal of Musicology 4, no. 4 (October 1985): 507–34. http://dx.doi.org/10.1525/jm.1985.4.4.03a00070.
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Akshentseva, V. M. "DIALOGUE AND ITS MANIFESTATIONS IN INSTRUMENTAL CONCERTS OF J. HAYDN." Arts education and science 1, no. 3 (2020): 81–90. http://dx.doi.org/10.36871/hon.202003010.
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In the article, dialogue peculiarities are considered as one of the typical qualities of a classical concert, closely connected with the principles of virtuosity, concertizing and playing. On the example of instrumental concerts of J. Haydn, compositional and dramaturgical functions of the dialogue between orchestra and soloist are studied. They are illuminated through a system of attitudes based on the principles of consent and counteraction. Conflicting relationships between communication participants contribute to the demonstration of several points of view. Thus one can reveal various kinds and signs of dialogues forming the concept of the world of J. Haydn's compositions, which is developed in the process of stylistic exchange — Baroque and Classicism. Signs of typical oppositions in the text models of ancient genres — concerto grosso, trio-sonatas and "wandering" plots with the participation of dialogue structures are observed and described in the composer's instrumental concerts. Different functional relations between the structural-semantic text units, presented as cliched "formulas" of various etymology, through the prism of horizontal (tutti — solo) and vertical (continuo — solo) models, formed in Baroque ensemble music, are considered. Dialogue interactions, successive Baroque, vividly highlight the specificity of the general — classicist and individual — composer's view of the world.
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Kailin, Zhang. "POLARITY OF S. SLONIMSKY'S STYLISTIC GUIDELINES IN THE INSTRUMENTAL CONCERTS "PRIMAVERILE" AND "TRAGICOMEDY"." Arts education and science 1, no. 3 (2021): 141–47. http://dx.doi.org/10.36871/hon.202103018.
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This article is devoted to the comparative description of two string concerts by Sergei Mikhailovich Slonimsky (1932–2020): the violin "Concerto Primaverile" (1983), focused on the Romantic style of the XIXth century, and the viola "Tragicomedy" (2005), related to the avant-garde line of the composer's work. Each of the opuses embodies different types of programmaticity: a generalized one in "Concerto Primaverile" for violin and string orchestra, and more concretized one in the concert on "Crime and Punishment" by F. Dostoevsky for viola and chamber orchestra. Thus, Slonimsky also turned to both types of programmaticity in solo compositions for these instruments, for example, figurative specificity becomes the main characteristic in the dramaturgy of the final piece for violin "Legend" (based on the novel by I. Turgenev). On the contrary, the Viola Sonata and Variations for a solo instrument rather address a generalized compositional approach. Comparison of the two concert scores follows the lines of their stylistic difference: programmaticity, specificity of dramaturgy and technical implementation, and in particular problems such as complex melodic figuration, contrapuntal saturation of homophonic monodic texture, the role of micropolyphony, the introduction of third and quarter tones and other non-standard principles of sound production.
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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.
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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.
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Rubino, Elena C., and Elizabeth F. Pienaar. "Rhinoceros ownership and attitudes towards legalization of global horn trade within South Africa's private wildlife sector." Oryx 54, no. 2 (August 13, 2018): 244–51. http://dx.doi.org/10.1017/s0030605318000030.
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AbstractSouth Africa's private sector is vital to rhino conservation yet there is a lack of research into the attitudes of current and potential rhino owners towards rhino conservation and horn trade. We surveyed 169 members of the South African private wildlife ranching industry to examine these matters. We sought to understand: (1) ranchers’ motivations for owning or not owning rhinos, (2) how rhino ownership affects ranchers’ income and operations, and (3) the attitudes of wildlife industry members towards legalization of global rhino horn trade. Our findings indicate that all respondents recognize the risks of rhino ownership and tend to distrust national and provincial environmental departments. In addition to these concerns, rhino owners have substantial monthly security and management expenditures. We found positive attitudes overall towards global rhino horn trade. Rhino owners strongly agreed that legalization would benefit rhino owners and rhino conservation. Documenting the realities of private rhino ownership and the opinions of the wildlife industry is important for policy design and for informed debate about the legalization of the rhino horn trade.
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Ebert, Claire E., and Jaime J. Awe. "Comparing Preclassic Sequences at Cahal Pech, Belize: Reply to Horn." Latin American Antiquity 32, no. 2 (June 2021): 442–44. http://dx.doi.org/10.1017/laq.2021.39.
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Onuoha, Freedom C. "Piracy and Maritime Security off the Horn of Africa: Connections, Causes, and Concerns." African Security 3, no. 4 (November 29, 2010): 191–215. http://dx.doi.org/10.1080/19392206.2010.533067.
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Kramer, Richard. "Skizzen, and: Concerto for Horn and Orchestra in E-flat Major, K. 370 b + 371 (review)." Notes 57, no. 1 (2000): 188–93. http://dx.doi.org/10.1353/not.2000.0032.
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Thomas, Barbara P. "Development Politics and the Politics of Development in Zimbabwe and Ethiopia." Issue 15 (1987): 60–69. http://dx.doi.org/10.1017/s0047160700506040.
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To the casual observer and the experienced scholar alike, the complexity of the African continent defies imagination. Two of the complicated-and troubled-areas are Southern Africa and the Horn. These two regions with their extraordinary mix of ethnic groups, races, political loyalties, new states, varying colonial experiences, economic concerns and environmental problems challenge the most astute analyst of African affairs. Recently, I had an opportunity to return to Zimbabwe and Ethiopia for a brief visit after a three-year absence. I was intrigued with the possibiltiy of looking more closely at some of the pieces of the Southern Africa and Horn puzzles. I wondered what changes there would be in these two countries since I had last visited them in the summer of 1982.
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Xing, Xin. "TAN DUN'S VIOLIN CONCERTO "THE LOVE" AS A REFLECTION OF STYLISTIC DIVERSITY OF MODERN COMPOSITION." Arts education and science 1, no. 3 (2020): 61–74. http://dx.doi.org/10.36871/hon.202003008.
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The article analyzes "The Love" Violin Concerto (2009) by the famous Chinese and American composer Tan Dun in contextual, composing and linguistic aspects. Based on the statements of his contemporaries, the author considers the composer's musical and aesthetic views that determine the originality of his style, organically combining avant-garde techniques with elements of traditional Chinese music. Tan Dun's Violin Concerto exists in three versions with different titles ("Out of Peking Opera" 1987, "The Love" 2009, "Rhapsody and Fantasy" 2018), representing different artistic concepts with a new viewpoint on the same intonational material. Three movements of the Concerto "The Love" reflect the evolution of feelings at different stages of human life. The composer manages to combine the idea of "national" (a tendency going back to the version of the Concerto "Out of Peking Opera" 1987) with a philosophical understanding of the category of love. The paper discusses the originality of the dramaturgy of "The Love" Violin Concerto, which assumes the third part as the main center (based on the development of thematic material of the first and second movements), the consolidation of parts of the attacca cycle and the rondality of the musical form. The most important peculiarity of the composition is the mixture of elements belonging to different cultural and temporal layers of music. The stylistic diversity of Tan Dun's Concerto is reflected in the following details: the composer's introduction of a stylized tune from the Beijing Opera erhuang, speech intonations resembling recitatives of Chinese dramas, borrowings from his own film music (the second movement), the use of methods typical for traditional Chinese music, yaoban and sanban, the timbre of oriental percussion instruments in a classical symphony orchestra, as well as dodecaphone techniques, aleatorics and Hip-hop rhythms. Special attention in the article is paid to interpretation of expressive possibilities of solo violin: methods of classical-romantic technique are synthesized with traditions of performance on Chinese stringed instruments.
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Zekang, Chen. "SYMPHONY CONCERTO FOR PERCUSSION AND ORCHESTRA "SACRED FIRE 2008" BY TANG JIANPING: THE PROGRAM AND ITS INSTRUMENTAL IMPLEMENTATION." Arts education and science 1, no. 4 (2020): 55–62. http://dx.doi.org/10.36871/hon.202004007.
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The article introduces the famous Chinese composer Tang Jianping's "Sacred Fire 2008" Symphony Concerto for percussion instruments for the first time. The composition inherits the principles of a classical concert, in which the idea of a competition between a solo instrument (or a group of instruments) and an orchestra is brought to the fore. The Concerto was written for a triple orchestra with a significant expansion of the percussion instrument group, which are represented by both European varieties and national phono instruments (small Chinese cymbals and Peking Gong), helping the composer to achieve unusual timbre combinations. The soloist's part is also assigned to percussion tools. The considerable expansion of the percussion instruments and their promotion to leading positions is due not only to special attention to their timbre and imaginative capabilities. Among the reasons is the author's desire to establish a connection with ritual music through percussions, which is extremely important considering his special attention to the history and culture of his country. The Concerto is permeated with symphonic development, as indicated by a number of specific features that are revealed through musicological analysis. Special attention is paid to the Concerto program, which was inspired by the XXIXth Summer Olympic Games, but has a deeper meaning — it reflects the worldview of Chinese people and Chinese history.
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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.
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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
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Eckhardt, Michael, Kabeer Shah, Melanie Bois, Joseph Maleszewski, Kellyanna Moore, and Peter Lin. "Healed Fracture of Superior Horn of Thyroid Cartilage in Autoerotic Asphyxia: An Indication of Prior Activity? A Case Report Utilizing 3D Scanning and Printing of the Larynx." Academic Forensic Pathology 8, no. 1 (March 2018): 170–79. http://dx.doi.org/10.23907/2018.012.
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Evidence of prior autoerotic asphyxia is often difficult to establish due to the decedent's efforts to hide the activity from others. In this case report, we suggest that a healed fracture of the thyroid cartilage is indicative of prior autoerotic asphyxia activity. The decedent was a 45-year-old man who was found unclothed on the floor of his bedroom with a belt ligature around the neck. A second rope ligature was loosely wrapped around the decedent's wrists, scrotum, and penis. A definitive escape mechanism was not identified, but a nearby towel and barbell weight may have comprised a possible escape mechanism. There was no known history of depression or prior autoerotic activity. Autopsy was notable for the presence of a healed fracture of the right superior horn of the thyroid cartilage. Three-dimensional (3D) surface scanning and 3D printing was utilized to preserve the anatomical findings prior to histologic sampling. To our knowledge, this is the first reported use of 3D surface scanning and 3D printing for the purpose of documenting a forensic finding prior to alteration of the anatomical specimen for histologic sampling. Acute fractures of the superior horns of the thyroid cartilage are not infrequently seen in ligature hanging. Therefore, the presence of a healed fracture in the setting of autoerotic asphyxia likely indicates prior activity. Histologic sampling of the laryngeal cartilages to detect occult healed fractures in autoerotic asphyxia may be useful. Three-dimensional scanning and printing may alleviate concerns for specimen alteration due to histology sampling.
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Pulver, S. E., B. G. Celik, and Y. S. Abraham. "The status of emergency alert systems for construction project sites." IOP Conference Series: Earth and Environmental Science 1101, no. 3 (November 1, 2022): 032025. http://dx.doi.org/10.1088/1755-1315/1101/3/032025.
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Abstract Worker safety is of the utmost importance; consequently, construction project sites use alert systems to notify project team members of emergencies on the job site. Various emergency alert systems are available in the construction industry, from the simple air horn to the more complex remote and app-based systems. This research aims to improve construction safety by investigating emergency alert systems that notify workers of widespread emergencies on the project site. The objectives are to identify the types of emergency alert systems available in the construction industry, explore the industry professionals’ perceptions of the existing emergency alert systems, and identify any gaps in the market for new technologies or the potential for improving existing ones. This study utilizes a survey of 34 industry professionals to identify the most commonly used emergency alert systems on jobsites and their knowledge and perceptions of app-based and remote emergency alert systems. Results indicate that while the air horn is the most used method of emergency alerts, the construction industry may be willing to spend more on remote emergency alert systems than app-based emergency alert systems. The primary concerns of the construction industry are the overall cost, the reliability of the high-tech systems, and the potential for false alarms. It appears that if the construction professionals’ concerns are addressed, they would be willing to spend more on app-based systems.
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KUTKAM, Arzu. "A Landscape Matrix Proposal For Haliç (Golden Horn) Coastal Zone." Ecological Perspective 1, no. 1 (December 23, 2021): 15–28. http://dx.doi.org/10.53463/ecopers.20210063.
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The impacts of urbanization on landscapes andecosystems have been increasing globally. Howurban landscape is shaped, in other wordsdesigned, is a fundamental human activity interms of urban sustainability. Landscape is oftendealed with mostly by aesthetic concerns whichpresents sustainable/ecological/naturalqualities only at formal level, is limited bylegislative framework, hardly responds tohuman needs and behavioral patterns and lacksa holistic approach within the Turkish spatialdesign practice. This study aims to develop alandscape matrix in the example of Istanbul(Golden Horn) region as an open spaceoperation model within the existing urbantexture, which the built environment has beenrepresented with different layers of historicaldevelopments. The matrix presented in thisstudy presents a design process on the basis ofurban ecology as well as the physical and socialrelations of the study area located in the GoldenHorn, one of the cultural identity values ofIstanbul, formed by urban layers belonging todifferent historical periods. It is thought that theconstruction of the coastal and hinterlandrelationship through the open space system bothcontributes to the dissolution of the urbantexture towards the coastal zone andstrengthens the character of the waterfront.
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Sukhanova, T. B. "THE STAGE FATE OF L. VAN BEETHOVEN'S VIOLIN AND CHAMBER INSTRUMENTAL HERITAGE IN RUSSIA IN THE XIXTH CENTURY." Arts education and science 2, no. 31 (2022): 76–84. http://dx.doi.org/10.36871/hon.202202010.
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The article discusses the history of Beethoven's violin and chamber instrumental works — his Concerto, violin sonatas, bowed quartets and pieces — on the Russian concert scene of the XIXth century. The purpose of this paper is to trace the most important stages in strengthening the position of the composer's violin and chamber-instrument works in Russia and to outline the main factors influencing this process. The paper provides a chronology of Beethoven's compositions appearing on the Russian stage, and also analyzes reasons for the popularity of certain works, such as the "Russian Quartets" op. 59, as well as the ambivalent attitude towards other works — the late quartets and the Violin Concerto. Another aspect of the article focuses on the contribution of Russian (A. Amatov, N. Golitsyn, A. Bogdanov, V. Bezekirsky) and foreign performers who worked and toured in Russia (L.-W. Maurer, A. Viethan, F. Laub, H. Wieniawski, and L. Auer) to the popularization of Beethoven's violin heritage. Particular emphasis is placed on the virtuoso-romantic context of performing art, in which the Beethoven tradition in Russia was born.
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Coulter, Dale M. "Toward a Pentecostal Theology of Black Consciousness." Journal of Pentecostal Theology 25, no. 1 (April 20, 2016): 74–89. http://dx.doi.org/10.1163/17455251-02501010.
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This article offers a historical argument that a cultural program existed among the Sanctified churches in the first half of the twentieth century. This cultural program cultivated a distinct form of black consciousness around three elements: 1) a rehabilitation of slave religion; 2) an embrace of Ethiopianism as a global vision of pan-Africanism; and 3) an effort at Black uplift through education. One can detect features of this consciousness among important figures like Charles H. Mason, Charles Price Jones, Blind Willie Johnson, and Mother Rosa Horn. With it’s distinctive fusion of Pentecostal ecstasy and Wesleyan holiness with the concerns of Sanctified churches, this cultural consciousness must be placed alongside other visions offered by persons such as W.E.B. Dubois as seeking to advance a theology addressing the concerns of the Black Church.
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Leisner, David, Francesco Molino, and Ruggero Chiesa. "Concerto in mi minore per chitarra e Orchestra [2 Oboes, 2 Horns, Strings], op. 56." Notes 41, no. 4 (June 1985): 783. http://dx.doi.org/10.2307/940885.
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De Angelis, Giovanni, Michele Meo, D. P. Almond, S. G. Pickering, and U. Polimeno. "Impact Damage Detection in a Stiffened Composite Wing Panel Using Digital Shearography and Thermosonics." Key Engineering Materials 471-472 (February 2011): 904–9. http://dx.doi.org/10.4028/www.scientific.net/kem.471-472.904.
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There has been a growing interest in the use of composites especially in structural application ranging from aerospace to automotive and marine sectors. However, their performances under impact loading represent one of the major concerns as impacts may occur during manufacture, normal operations and maintenance. This paper presents two novel NDT techniques, thermosonics and digital shearography (DISH) to detect and assess barely visible impact damage (BVID) produced on a stiffened composite wing panel by unknown low energy impacts. Thermosonics is based on synchronized infrared imaging and ultrasonic excitation. Despite the apparent simplicity of the experimental setup, thermosonics involves a number of factors, e.g. acoustic horn location, horn crack proximity, horn-sample coupling etc., that significantly tend to influence both the degree and the period of the excitation. Then, a numerical-experimental procedure for the assessment of the size and depth of delamination by digital shearography (DISH) is proposed. The flaw detection capabilities of DISH have been evaluated by measuring the dynamic response of the delaminated area to applied stresses. The shearographic methodology is based on the recognition of the (0 1) resonance mode per defect. A simplified model of thin circular plate, idealized above each impacted area, is used to calculate the natural frequency of vibrating delamination. The numerical difference between experimental resonance frequencies and those computationally obtained is minimized using an unconstrained optimization algorithm in order to calculate the delamination depth. The results showed that thermosonics is a quick and effective method to detect and localize BVID damage while the combined shearography and optimization methodology was able to size and localize delamination due to low velocity impacts.
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Silva, Marcos Valle Machado da, and Carlos Eduardo Ribeiro de Macedo. "É hora de dissuadir a dissuasão?" Conjuntura Austral 13, no. 64 (December 16, 2022): 51–65. http://dx.doi.org/10.22456/2178-8839.124411.
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À luz da relevância do conceito de dissuasão para as estratégias dos Estados, e da decorrente correlação entre o referido conceito e alguns armamentos específicos, este artigo busca discutir como a incorporação de um submarino de propulsão nuclear, pelo Brasil, pode contribuir para a geração de efeitos dissuasórios. Apoiado em registros passados e em teorias contemporâneas sobre o tema, o artigo examinou como funcionou a dinâmica dissuasória antes e durante a Guerra das Malvinas. Assim, utilizou-se o método do estudo de caso para evidenciar se e como os submarinos de propulsão nuclear do Reino Unido foram instrumentos de dissuasão ao longo de um conflito eminentemente naval. Após a contextualização teórica e a verificação de sua aplicação histórica, confirmou-se o argumento segundo o qual, para que a dissuasão, que se espera decorrer da aplicação operacional de um dado armamento, venha a surtir efeitos no nível político-estratégico, é necessário que essa aplicação esteja em concerto com uma grande estratégia nacional que dê demonstrações inequívocas da disposição estatal para o efetivo emprego desse dado armamento. Caso contrário, a dissusão poderá não ocorrer, haja vista que a dissuasão operacional não se reveste, automaticamente, em dissuasão político-estratégica.
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Haji, Alinur Hassan, and Crispinous Iteyo. "Relationship between Islamism and Al-Shabaab Activities in Garissa County." International Journal of Social Sciences and Humanities Invention 5, no. 10 (October 18, 2018): 5017–25. http://dx.doi.org/10.18535/ijsshi/v5i10.04.
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Terrorism has been a major threat to global peace and security in the recent years. The rate at which terror groups keep changing has brought concerns to various security stakeholders and to local communities affected. The Al-shaabab terror network that operates in the horn of African has been a major concern to various neighbours of Somalia with Kenya being the most affected Garissa County. The Al-shaabab activities which have largely been associated with extreme Islamic teachings have been a concern in the county. The study was underpinned by the Rational Choice Theory. The sample size was 384. The study was conducted in Garissa County. The results showed that there was a relationship between Islamism and Al-shaabab activities Garissa County. The Al-Shabaab militia had on many occasions used extreme teaching to justify their terrors attacks in Garissa county in the name of jihad which had caused serious concerns in the area.
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Glivinsky, Valery V. "The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 110–26. http://dx.doi.org/10.56620/2782-3598.2022.4.110-126.
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In morphological analysis, the musical work and the listener are seen as elements of one communicative duality. Each element of this duality may play the role of either subject or object. This paves the way for a more flexible approach towards analyzing a musical text. The morpheme, one of the cornerstones of morphological analysis, can be defined as a sound construction with a typical set of characteristic features. The other cornerstone, the morph, transforms a morpheme into a genеriс, stylistic “flesh and blood” of a specific musical text, on the basis of polymorphism. One bright example of the depth and rapidity of morphic transformations in Tchaikovsky’s music is the finale of his First Piano Concerto. From the point of view of morphological analysis, the musical development in the “Introduction” to Stravinsky’s The Rite of Spring is based on a step-by-step approach to an externally existing object, making it possible for us to perceive (see or hear) its details. The object itself is polymorphic, i.e., similar to an embryo; it contains within itself, from the start, every element it needs for further development. The starting point of the “Introduction,” the high-register bassoon melody accompanied by the supporting line of the horn, can be defined as a forest viewed in a distance, from where the sound of a shepherd’s horn can be heard. The ten intonational elements of the initial three measures of the ballet provide the base from which the form of the “Introduction” is developed.
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Garg, Naveen, Anil Kumar, and Sagar Maji. "Technical Notes: Practical Concerns Associated with Single-Number Ratings in Measuring Sound Transmission Loss Properties of Partition Panels." Archives of Acoustics 38, no. 1 (March 1, 2013): 115–24. http://dx.doi.org/10.2478/aoa-2013-0014.
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Abstract The paper presents an extensive review investigating the practical aspects related to the use of single- number ratings used in describing the sound insulation performance of partition wall panels and practical complications encountered in precise measurements in extensive frequency range from 50 Hz to 5 kHz. SWOT analysis of various single number ratings is described. A laboratory investigation on a double wall partition panel combination revealed the significant dependence of STC rating on transmission loss at 125 Hz attributed to 8 dB rule. An investigation conducted on devising alternative spectrums of aircraft noise, traffic noise, vehicular horn noise and elevated metro train noise as an extension to ISO 717-1 Ctr for ascertaining the sound insulation properties of materials exclusively towards these noise sources revealed that the single-number rating Rw + Ctr calculated using ISO 717-1 Ctr gives the minimum sound insulation, when compared with Rw + Cx calculated using the alternative spectrums of aircraft noise, traffic noise, etc., which means that material provides a higher sound insulation to the other noise sources. It is also observed that spectrum adaptation term Cx calculated using the spectrum of noise sources having high sound pressure levels in lower frequencies decreases as compared to ISO 717-1 Ctr owing to significant dependence of Ctr at lower frequencies.
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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.
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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the work is based on the author's dialogue with outstanding compositions for violin of the XIXth and XXth centuries: concertos by Beethoven (D-dur Op. 77), Brahms (D-dur Op. 35), Tchaikovsky (D-dur Op. 1), Prokofiev (No. 19 D-dur Op. 24) and Berg ("To the Memory of an Angel"). Herewith, the key role in the composition is given to Paganini's Caprice for solo violin (No. 1 a-moll Op. XNUMX), which is treated as a universal lexical model. In the process of reinterpretation, masterpieces receive a new original reading and become part of modernity.
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Dukov, E. V. "PERFORMING ARTS IN RUSSIA IN THE CONTEXT OF THE PANDEMIC." Arts education and science 1, no. 4 (2021): 108–18. http://dx.doi.org/10.36871/hon.202104014.
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This article is devoted to the modern history of performing arts during the pandemic. It examines the activities of authorities and theaters, concert organizations and concert organizers from 2020 to mid-2021. Countries plunged into self-isolation. The cultural sphere has been restructured, cultural contacts minimized, while video communication systems have evolved into virtual platforms in homes. The artists, left without full-fledged "live" concerts and performances were distressed. Halls could be accessed by documents and in very limited numbers. The article discusses two fundamental documents prepared by Rospotrebnadzor and appeared during this period: "Recommendations for Implementation of Measures Aimed at Prevention of the Spread of the New Coronavirus Infection (COVID-19) When Performing Activities of Theaters and Concert Organisations" and "On Measures to Limit the Spread of a New Coronavirus Infection (COVID-2019) on the Territory of the Russian Federation in Cases of Mass Events". Both documents were intensively discussed at various forums of performing arts managers in Russia.
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Collins, Alan, Gavin Fraser, and Jen Snowball. "Issues and concerns in developing regulated markets for endangered species products: the case of rhinoceros horns." Cambridge Journal of Economics 40, no. 6 (December 16, 2015): 1669–86. http://dx.doi.org/10.1093/cje/bev076.
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Pollard, Kevin J., Devon A. Bowser, Wesley A. Anderson, Mostafa Meselhe, and Michael J. Moore. "Morphine-sensitive synaptic transmission emerges in embryonic rat microphysiological model of lower afferent nociceptive signaling." Science Advances 7, no. 35 (August 2021): eabj2899. http://dx.doi.org/10.1126/sciadv.abj2899.
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Debilitating chronic pain resulting from genetic predisposition, injury, or acquired neuropathy is becoming increasingly pervasive. Opioid analgesics remain the gold standard for intractable pain, but overprescription of increasingly powerful and addictive opioids has contributed to the current prescription drug abuse epidemic. There is a pressing need to screen experimental compounds more efficiently for analgesic potential that remains unmet by conventional research models. The spinal cord dorsal horn is a common target for analgesic intervention, where peripheral nociceptive signals are relayed to the central nervous system through synaptic transmission. Here, we demonstrate that coculturing peripheral and dorsal spinal cord nerve cells in a novel bioengineered microphysiological system facilitates self-directed emergence of native nerve tissue macrostructure and concerted synaptic function. The mechanistically distinct analgesics—morphine, lidocaine, and clonidine—differentially and predictably modulate this microphysiological synaptic transmission. Screening drug candidates for similar microphysiological profiles will efficiently identify therapeutics with analgesic potential.
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Sheppard, W. Anthony. "Peter Lieberson. Rilke Songs. The Six Realms. Horn Concerto. Bridge Records 9178, 2006 / Peter Lieberson. Neruda Songs. Lorraine Hunt Lieberson, mezzo-soprano. Nonesuch 79954, 2006." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 111–15. http://dx.doi.org/10.1017/s1752196309990885.
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Krasnogorova, O. A. "THE SOUND OF THE "GOLDEN AGE": PROBLEMS IN PERFORMING ENGLISH VIRGINAL ART." Arts education and science 1, no. 3 (2020): 104–14. http://dx.doi.org/10.36871/hon.202003013.
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The main objective of the article is to investigate the problems of performing compositions by English composers of the XVIth – XVIIth centuries and the history of their sound incarnation. The author analyzes the appeal to the musical art of the "Golden Age" by A. G. Rubinstein, who included in the piano "Historical Concerts" and lectures works by W. Byrd, O. Gibbons, H. Purcell. Considering the specifics of the clavier texture, different types of variations and their influence on the development of instrumental techniques are distinguished. Based on the comparison of the pavane, the article draws conclusions about the stylistic features of various composers. As one of the key problems in creating an interpretation, the author notes the solution to the question of choosing a musical instrument (both between harpsichord and piano and between historical instruments), which has a decisive influence on sound quality. The article examines the experience of A. B. Lyubimov in performing works by English virginalists. Interpreted by G. Gould, the pianist emphasizes the new contemporary hearing of compositions by W. Byrd and O. Gibbons, performed in the same program with the works of A. Schoenberg, A. Webern, A. Berg, which reveals the dialogue of eras.
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Faggioli, Massimo. "II. Modernization of the Papacy and Catholicism in the Postmodern: Legacy and Challenges to Vatican I." Horizons 47, no. 1 (May 18, 2020): 115–19. http://dx.doi.org/10.1017/hor.2020.44.
Full textAbstract:
In the ongoing aggiornamento of the aggiornamento of Vatican II by Pope Francis, it would be easy to forget or dismiss the one hundred and fiftieth anniversary of Vatican I (1869–1870). The council planned (since at least the Syllabus of Errors of 1864), shaped, and influenced by Pius IX was the most important ecclesial event in the lives of those who made Vatican II: almost a thousand of the council fathers of Vatican II were born between 1871 and 1900. Vatican I was in itself also a kind of ultramontanist “modernization” of the Roman Catholic Church, which paved the way for the aggiornamento of Vatican II and still shapes the post–Vatican II church especially for what concerns the Petrine ministry.
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Gautam, Prashanta, and Abhilash J. Chandy. "A Computational Fluid Dynamics Model for Investigating Air-Pumping Mechanisms in Air-Borne Tire Noise." Tire Science and Technology 44, no. 3 (July 1, 2016): 191–211. http://dx.doi.org/10.2346/tire.16.440304.
Full textAbstract:
ABSTRACT The reduction in power train noise over the past decade has led to an increased focus in reducing tire/road noise, largely due to the environmental concerns related to road traffic noise in industrial countries. Computational fluid dynamic (CFD) simulations conducted using ANSYS FLUENT are presented here with the objective of understanding air-pumping noise-generation mechanisms due to tire/road interaction. The CFD model employs a large eddy simulation turbulence modeling approach, in which the filtered compressible Navier-Stokes equations are solved to obtain temporally and spatially accurate near-field pressure fluctuations for a two-dimensional (2D) tire geometry with (1) one groove and (2) two grooves. In addition, the Ffowcs-Williams and Hawkings (FW-H) acoustic model is used to predict far-field acoustics. The deformation of the grooves, as the tire rotates, is represented by prescribed sidewall movements. Consequently, the solution to the numerical problem is obtained through a single process, thereby enabling the prediction of small-scale air pumping, horn effect, and far-field acoustics in a single simulation. The acoustic characteristics associated with air pumping are studied through spectral analysis tools, and comparisons show that the additional groove on the horn geometry alters the spectral characteristics of air pumping. Validation of the model is conducted through qualitative and quantitative comparisons with previous studies. These simulations are intended to provide a deeper understanding about the small-scale noise generation as well as the near-field and far-field acoustics, thereby paving the way for the automotive manufacturer to compare a variety of air-related tire noise characteristics without spending time and money for vehicle pass-by tests.