Books on the topic 'Fer – Composés complexes'

The Metric Epistles of Albertino Mussato (1261-1329) are a collection of 20 compositions in Latin verse (of which, 12 in elegiac couplets, 8 in hexameters, for a total of 1,570 verses) composed between 1309 and 1326 and addressed to different recipients. The list of recipients includes friends of the author and representatives of the Paduan political and intellectual élite of the early 14th century such as the judges Rolando da Piazzola, Giovanni da Vigonza and Paolo da Teolo, the notary Zambono d’Andrea and Marsilio Mainardini; masters of grammar and rhetoric such as the Venetian Giovanni Cassio, Bonincontro from Mantua and Guizzardo from Bologna; religious personalities such as the Dominican friars Benedetto and Giovannino da Mantova, respectively lecturer and professor of theology at the Studium Generale of the convent of S. Agostino in Padua; collective recipients, such as the College of Artists and fellow citizens of Padua. After an editio princeps was printed in Venice in 1636 on the basis of a now lost manuscript, a critical edition of the Epistles is published here for the first time, including the complete corpus of the texts in the light of their entire manuscript tradition. The texts are accompanied by an Italian translation and a detailed commentary, which mainly aims to bring to light and analyse the dense intertextuality of Mussato’s poem (in particular classical Latin sources), reconsidering the cultural background of the author and his contemporaries in the context of the so-called ‘Paduan prehumanism’ and an ideal dialogue with Dante’s coeval biographical and literary experiences.

‘Living, loving, dying’ asks what is life? It considers the origins of life, self-assembly, or epigenesis of complex organisms, generation, and renewal. According to Epicureanism, living things are composed of the same material particles that compose all substances and objects. All such entities come into existence gradually as their parts are built up, and all are dissolved in time into their constituent particles in the cosmic flux, where they become material for the generation of new living and non-living entities. Lucretius described a ‘fixed limit’ to the duration and powers of every individual thing except the atom. For the Epicurean philosopher, generation and dying are symmetrical processes.

With A Mirror on which to Dwell, composed in 1975, Carter returned to vocal music and to modern American poetry. Mirror, to poems of Elizabeth Bishop, was soon followed by Syringa (John Ashbery) and In Sleep, In Thunder (Robert Lowell). These three works explore a wide range of expressive territory. Bishop and Lowell were close to Carter in age, while Ashbery was twenty years younger. The two older poets pursue an intimate confessional style, while Ashbery’s far more experimental poetry derives from French surrealism. Bishop’s poetry is precise and observant, while Lowell’s seems to teeter on the verge of mental collapse. All three works reveal a complex relation between composer and poets, as does the single orchestra work of this period, A Symphony of Three Orchestras, which summed up and concluded Carter’s engagement with Hart Crane.

Motives, the small, recurring shape elements primarily identified by their pitch and rhythm profiles, are near-ubiquitous in music. Yet despite their long-standing prominence in composition and in past and present discourse on music, motives have resisted systematic treatment. The present work, Musical Motives, establishes a methodology for identifying and labeling motives and for assembling viable, meaningful analyses with them. The book opens with a general introduction to motives and a review of their history in Western music. The body of the work prescribes a two-tiered system for working with motives: basic motivic analysis (BMA) concerns monophonic motives composed of pitch and rhythm, while complex motivic analysis (CMA) concerns polyphonic motives that present as a richer network of elements drawn from many domains, including but not limited to pitch, rhythm, counterpoint, harmony, texture, and articulation. In support of these methods, the book offers a generous set of tools to advance this analytic subdiscipline. One tool is a universal system of motivic nomenclature proposed to facilitate dialogue among analysts. Another is a technique for melodic reduction, rooted in principles of salience, that allows analysts to posit motives that admit flexibility without sacrificing methodologic rigor. Most significant, the work details specific procedures for creating, interpreting, and presenting motivic analyses that range in length from just a few measures to entire pieces. Extensive demonstrations of all points and procedures are given in the form of analyses of selections and full works by composers as diverse as Beethoven, Handel, Chopin, Bach, Mozart, Brahms, Cécile Chaminade, Marvin Hamlisch, Aretha Franklin, John Philip Sousa, and Radiohead.

Although Georges Auric (1899–1983) is best remembered today for his affiliation with the Groupe des Six, his musical career was long, productive, complex, and intimately attuned to the realities of modern life. His polyvalent career—as a composer of concert, theatrical, ballet, popular, film, and television music; music critic; opera director; and arts administrator—reveals a diversity of engagements that speak to a reconfiguration of the role of the composer in the modern world. Auric was a product of his time, with deep connections to France’s artistic, social, and political elites. At the same time, he drew on his prestige and privilege to improve the country’s musical life in tangible ways, whether with regard to musical education and accessibility or to the establishment of fair copyright laws. He took artistic collaboration, already a hallmark of the short-lived Groupe des Six, to a level that surpassed any of the other members of that group. Diverging from the romantic trope of individual creation, Auric’s legacy troubles conventional ideas of what it means to be a composer.

Although Peri is known as composer of the first operas, his chamber settings for one to three voices and continuo reveal that he was also a leading exponent of other styles of the early Baroque. Indeed, his best solo madrigals and arias offered Florentine monody a new dramatic power and structural integrity. This complete edition of Peri's vocal chamber works sheds new light on his career and demonstrates his importance for the "new music" of the 1600s.

This chapter showcases two further lectures on the Hodge theory of maps, and they are mostly composed of exercises. The first lecture details a minimalist approach to sheaf cohomology, and then turns to the intersection cohomology complex, which is limited to the definition and calculation of the intersection complex Isubscript X of a variety of dimension d with one isolated singularity. Finally, this lecture discusses the Verdier duality. The second lecture sets out the Decomposition theorem, which is the deepest known fact concerning the homology of algebraic varieties. It then considers the relative hard Lefschetz and the hard Lefschetz for intersection cohomology groups.

This chapter surveys the polysynthetic characteristics of the languages of the Daly River region of Australia’s Northern Territory. Although they are not all closely related, these languages share many typological features typical of polysynthesis, including the encoding of core arguments in the verbal word; noun incorporation; applicatives; and complex templatic verbal morphology. In addition the Daly languages exhibit complex verbal predicates composed of two discontinuous stems, one functioning broadly to classify the event type and the other providing more specific lexical semantics. These properties are surveyed across a range of Daly languages, considering both their similarities and their differences, and the implications they have for a cross-linguistic typology of polysynthesis.

Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as standard for French text-setting and where composers diverge in their approach. The specific case studies that make up the second half of the book focus on Baudelaire song sets produced by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, the assemblage model is tested to uncover new findings about what happens to Baudelaire’s poetry when it is set to music. Analysing Baudelaire’s poetry within song settings uncovers richer features of the texts that we might otherwise not see or hear. Examining each song setting in close detail confirms that there are no overt resonances between the types of poems selected for musical interpretation, just as there is no single, perfect ‘ideal’ setting of Baudelaire.

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. This book will be of special value for everyone who teaches music at any level, from classroom instructors to ensemble directors to private studio instructors. Whether you want to create simple exercises for beginning performers or more complex programs for aspiring composers, this book will show you how to write customized software that can complement and even inspire your instructional objectives. No specialist foreknowledge is required to use this book to enliven your experience with music technology. Even musicians with no prior programming skills can learn to supplement their lessons with interactive instructional tools, to develop adaptive instruments to aid in composition and performance activities, and to create measurement tools with which to conduct research. This book allows you to: -Learn how to design meaningful projects for composition, performance, music therapy, instruction, and research -Understand powerful software through this accessible introduction, written for beginners -Follow along through step-by-step tutorials -Grasp the principles by downloading the extensive software examples from the companion website This book is ideal for: -Music educators at all levels looking to integrate software in instruction -Musicians interested in how software can improve their practice and performance -Music composers with an interest in designing interactive music -Music therapists looking to tailor programs to the needs of specific groups or individuals And all who are interested in music technology. Visit the companion website at www.oup.com/us/maxmspjitter

This book is a comprehensive introduction to quantitative approaches to complex adaptive systems. Practically all areas of life on this planet are constantly confronted with complex systems, be it ecosystems, societies, traffic, financial markets, opinion formation, epidemic spreading, or the internet and social media. Complex systems are systems composed of many elements that interact with each other, which makes them extremely rich dynamical systems showing a huge range of phenomena. Properties of complex systems that are of particular importance are their efficiency, robustness, resilience, and proneness to collapse. The quantitative tools and concepts needed to understand the co-evolutionary nature of networked systems and their properties are challenging. The intention of the book is to give a self-contained introduction to these concepts so that the reader will be equipped with a conceptual and mathematical toolset that allows her to engage in the science of complex systems. Topics covered include random processes of path-dependent processes, co-evolutionary dynamics, the statistics of driven nonequilibrium systems, dynamics of networks, the theory of scaling, and approaches from statistical mechanics and information theory. The book extends well beyond the early classical literature in the field of complex systems and summarizes the methodological progress over the past twenty years in a clear, structured, and comprehensive way. The book is intended for natural scientists and graduate students.

The Politics of Princely Entertainment explores transformations in the politics of entertainment of the Italian aristocratic classes during the second half of the seventeenth century, a time when profound social and cultural shifts influenced the production and consumption of music. The emergence of commercial theaters in the 1630s in Venice and the great appeal that opera began to have for a large and international audience required the aristocracy to take on a new role within the complex network of agents responsible for the production not only of opera but of music in general. The increasing competition between commercial opera theaters, ruling courts, aristocratic families, and religious institutions, and the consequent professionalization of roles that previously had relied solely on patronage meant that singers, poets, and composers acquired unprecedented negotiating power. These questions are explored following the journeys and ventures of two of the most prominent patrons in seventeenth-century Italy, Prince Lorenzo Onofrio Colonna and his wife Maria Mancini. During the thirty years under examination here, 1659–1689, the Colonna were the most influential and active agents in Roman musical life: they sponsored an unprecedented number of operas, serenatas, oratorios, public ceremonies, and carnival parades while supporting the careers of the most prominent composers, librettists, musicians, and singers of the time. Following the Prince and his wife through their travels to Venice, Spain (as Viceroys of the Kingdom of Aragon), and later Naples, this book traces the journeys not only of scores and librettos, but also of the singers, composers, and librettists whose art reached these faraway corners of Europe, serving diverse social and political purposes.

This chapter focuses on how Harry T. Burleigh, during his study at the National Conservatory of Music, became Czech composer Antonín Dvořák's most direct link to the African American music traditions in which he was keenly interested. Burleigh's second year at the conservatory would be a momentous one not only for him but also for the conservatory and for American music when Dvořák was appointed director. By the end of the academic year, Dvořák would complete the composition of his most famous American work, Symphony No. 9 in E Minor, “From the New World.” Burleigh would be intimately involved in the process of its creation. Dvořák validated the artistic value of African Americans' folk music during his time at the conservatory.

This chapter explores the importance of lament for the dead within historical and romance narratives composed in Scotland between c.1438 and c.1500 in both Older Scots and Latin. The chapter looks in detail at intercalated laments for the dead included in Walter Bower’s Scotichronicon (c.1440–7) and the anonymous Liber Pluscardensis (completed c.1461) as well as in the octosyllabic Buik of Alexander (c.1437), The Wallace (c.1476–8), and Sir Gilbert Hay’s Buik of King Alexander the Conquerour (c.1460–99). The chapter traces a persistent association within these texts between lament for the dead and physical rites of commemoration such as burial and the production of monuments, arguing that lament for the dead provides a means by which reputations can be authoritatively fixed.

This chapter is an introduction to the oft-misunderstood opera of Robert Ashley. Ashley's works do not fit the profile of what people generally think of as opera. In his pieces, people sing in a style that resembles speech, and plots are rarely evident in his works. The chapter argues that his works are far more stylistically complex than they initially appear, and that furthermore his oeuvre not only fits the very definition of opera, but even updates it in certain cases. It highlights the unconventionality of his opera and yet situates them squarely among the classical greats. In doing so, the chapter also delves into Ashley's own merits as a composer.

The ways in which music from Broadway reached listeners were different than most of popular music: show tunes had content, but full scores from Broadway had context as well as content. The act and the art of recovering the musical experience of a Broadway show for home listeners were both complex and challenging; how producers and composers met the technical and aesthetic challenges of capturing a narrative stage experience is the journey of this book. The songs from Broadway were and are an intensely personal and popular aspect of American popular culture; likewise, the cast albums themselves—and the songs from them—were among the most commercially successful recordings of the twentieth century.

This chapter situates Robert Ashley's formative years in his home state of Michigan. Born on March 28, 1930 in Ann Arbor, Michigan, Ashley would grow up in the musically prestigious shadow of the University of Michigan, where many famous composers have taught, although he would never teach there himself. Ashley earned his bachelor's degree from that university, however, and later worked on a doctorate there, which he never completed. On and off, the town remained his center of activities for 39 years, and he even referred to it as “Headquarters.” To some extent, he thinks of his operas as drawn from the melody of the distinctive southeastern Michigan accent. Ashley would spend the early part of his creative life in Ann Arbor as co-founder and co-director of the ONCE festivals.

Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works including his Fourth Piano Concerto (Op. 58), “Razumovsky” String Quartets (Op. 59), Fourth Symphony (Op. 60), Violin Concerto (Op. 61), Thirty-Two Variations on an Original Theme for Piano (WoO 80), and Overture to Collin’s Coriolan (Op. 62). Critics have struggled to reconcile the music of this year with Beethoven’s so-called heroic style, the paradigm through which his middle-period works have typically been understood. Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.

This chapter presents novel data from the Nakh-Dagestanian language Archi illustrating a typologically unusual phenomenon of apparent agreement between first person pronouns and absolutive-marked arguments. Apart from their typological significance, these facts challenge current approaches to agreement, which hold that Agree relations can be established only between heads and phrases. The chapter shows that Archi agreeing pronouns do not constitute a uniform class, but subdivide into simple weak pronouns and complex forms composed of a pronoun and a focus marker. Weak pronouns lack [CL] feature specification ([øCL]), and must therefore copy a class feature from the closest v to avoid violating the constraint that all DPs must be specified for [CL]. As a result, the apparent agreement between arguments can be reduced to the unsurprising agreement between the absolutive DP and a series of verbal heads, some of them morphologically null.

This chapter presents an account of the composer and conductor Leonard Bernstein, who, although constrained significantly by the ideological climate of the 1950s, refused to silence himself politically. Beginning in the last years of the decade, he became increasingly vocal in his support for New Left causes, including the antiwar, antinuclear, and civil rights movements. On State Department–funded conducting tours with the New York Philharmonic, he tried to use music, particularly the Americanist tradition, to challenge US foreign policy. In his compositions, he remained true to musical Americanism, striving earnestly in his art music to continue Copland’s prewar approach. He found a fruitful outlet for his political commitments in his works for musical theater, but his art music compositions present a much more complex and fraught picture. Bernstein was attempting to resist and undermine political nationalism, while simultaneously advancing cultural nationalism. But in the binarized climate of Cold War America, this would not prove easy.

This chapter examines censorship in the Soviet Union during the Cold War by focusing on the experience of composer Alfred Schnittke (1934–1998). More specifically, it looks at Schnittke’s evolving interactions with Soviet political and aesthetic strictures, as well as the representation and interpretation of those interactions abroad, particularly in the United States and the United Kingdom. The chapter explores the increasingly complex, globalized musical economy in which late Soviet censorship played a key role. It also discusses the “harsh censorship” that Schnittke had to endure and how it gave him prominence, and ultimately prestige, with the help of various agents such as Gidon Kremer and the Kronos Quartet, the Soviet copyright agency VAAP (All-Union Agency for the Protection of Authors’ Rights), and the BIS record label. Finally, it highlights the actors (performers, producers, impresarios, critics, and listeners) who affect the way music is shaped and received, bought and sold.

The monograph is devoted to the study of atmospheric aerosol and its dynamics in the urban environment of Moscow megacity. Based on the AeroRadCity 2018-2019 complex experiment, composed of measurement campaign and numerical experiments using the COSMO-ART chemical transport model, a number of new results were obtained, which contributed to a deeper understanding of the gas-aerosol composition of the urban atmosphere, wet aerosol deposition with accounting of geochemical processes and aerosol radiative effects. Aerosol pollution in the Moscow region and its dynamics in the 21st century were estimated according to the aerosol retrievals using the MAIAC algorithm developed for the MODIS satellite instrument, and long-term AERONET measurements. The effects of aerosol on meteorological and radiative characteristics of the atmosphere were obtained from the numerical experiments with the COSMO model and long-term observations. The indirect aerosol effects on cloud characteristics and weather forecast were estimated.

This chapter looks at the role of music and voice-over in constructing and deconstructing highly political messages in the experimental documentary format. It argues that Julien Bryan’s films on Latin America for the Office of Inter-American Affairs do not operate as US wartime propaganda, as is often believed, but are rather highly musical pedagogical essays challenging prevailing tendencies in US wartime communications by presenting progressive reforms proceeding in Latin America as more advanced than was politically feasible in the United States. These claims are dramatised and softened by complex synchronised scores. The films demonstrated the very problem of middle-class development as a highly gendered negotiation of national development. Bryan’s constructionist film education of often xenophobic US audiences on Latin America reframed the role of the spoken voice-over familiar from early cinema’s film lecturer, while deploying the newer, through-composed musical synchronisation of the sound film.

Of Mahler’s Des Knaben Wunderhorn songs, eighteen possess the characteristics traditionally associated with the ballad as defined by Goethe: telling a story that passes through time with a discrete beginning, middle, and end that uses any combination of epic, dramatic, and lyrical narrative voices, excepting the purely lyrical. Mahler utilised numerous poetic and musical methods to bring these stories to life in his ballads, one of the most unique being the use of traditional song forms as a device to convey the overarching narrative. At his most complex, Mahler was forced to abandon the traditional formal models, creating ballads that unfold like miniature scenas to best convey the narrative material at hand. With his ballads from Des Knaben Wunderhorn, Mahler refashioned tools that song composers had used for over a century, as a further layer of narrative reinforcement, tangling the old with the new, and modernising by way of nostalgia.

Today, swollen numbers of humanity are now intensively interactive and interdependent through vast networks of complex machines and built infrastructures that span the planet, whose unintended consequences and spillovers have grown to species significance. The practical context for all human activities has become a densely occupied and tightly coupled neighborhood. While the content of cosmopolitanism, in its ancient, Enlightenment, and current phases, reflects shrinking geographical spaces, it presumes an Earth composed of different places, rather than a more accurate “terrapolitan” view of Earth as a single place. In the terrapolitan situation, the central problem is not that humans are insufficiently attentive to the needs of distant others. Rather, it is that they are insufficiently attentive to their collective self-interest in survival in the face of existential threats. In part, these limitations stem from the utter novelty of the threats to basic interests that have arisen with such historical rapidity.

Organiste-titulaire of Notre-Dame de Paris for nearly forty years, Louis Vierne composed over sixty songs, including a set of five Baudelaire songs, Cinq Poèmes de Baudelaire, published in 1921. This analysis covers: (a) the context of composition; (b) the connections established between selected poems; (c) the statistical data generated from the adhesion strength tests; and (d) how the data shape an evaluation of Vierne’s settings of Baudelaire. Findings reveal how the poetic line is minimally disrupted in these songs, as the vocal line remains very independent of the piano. As a result, the bonds between poem and music are largely abhesive, which means it is possible to recover the poem intact from the song score. As complex mélodies, the lack of interference with the fabric of Baudelaire’s versification, together with limited musical-semantic interpretation, means that Vierne’s music remains attentive towards Baudelaire’s poetic vision, offering an accretive outcome overall.

This chapter describes Pippin, the first of Bob Fosse’s two book musicals from the 1970s (Chicago being the second). Both shows engaged with cultural and social currents and were constructed around self-conscious, quasi-Brechtian staging concepts that emphasized their show business frameworks. Pippin was his most deliberately theatrical and nonrealistic show yet. This loose, revue-like look at the life of the son of Charlemagne in eighth-century France was set in a permanent limbo, told by an anachronistic troupe of players. It sported a contemporary edge as it followed the quest of the idealistic, hippyish Pippin to “find himself,” confronting themes resonant with the youthful counterculture: questioning war and religion, rebellion against parental authority, and sexual experimentation. Fosse’s push for complete control of his projects led to clashes with composer and lyricist Stephen Schwartz over the show’s tone and message. Fosse prevailed, infusing Pippin with a dark, cynical quality and giving it a decidedly ambivalent ending.

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Combining unusually nuanced attention to the soundtrack with a longing for bygone popular culture, the Pixar films show a new stage of development for animated films, taking on the stereotype that Hollywood cartoons are for kids. This chapter explores Pixar’s approach to music and the soundtrack to show how advances in sound design, as well as an evolving approach to film scoring taken by veteran Hollywood composers, have brought a new level of complexity and even respectability to the long-maligned animated feature.

This book examines the ways in which the idea of blackness has worked as a complex of representational strategies in the genre of opera. Offering new readings of both canonical and lesser-known operas by black and nonblack composers alike, it explores what representations of blackness in opera had in their original contexts, and what kind of performative and cultural significance they have retained. It shows that getting a black opera singer onstage involves successfully negotiating many professional and cultural barriers, but achieving that aim can lead to new and equally limiting obstacles. This is evident in the case of minstrelsy, which entail greater challenges for black performers compared to their white counterparts. Through an analysis of the “representation of blackness in opera,” the book brings to the fore questions about race and identity that are intertwined with questions of musical presentation. Most of the essays it contains are grounded in the phenomenon of black Other—the treatment of darker-skinned people as exotic or Other.

Modern scholars are fond of likening the task of attempting to reconstruct the medieval past to trying to do a jigsaw puzzle with very few pieces. This study has focused on the more colourful pieces of medieval history. Some of the pieces fit together neatly, through the processes of copying that were central to both the development of text and medieval book production. New histories were composed with reference to and often from existing ones, and comparison of surviving volumes sometimes permits us to track the circulation of a work over time. Other pieces of the puzzle are less obviously connected, but can nevertheless be situated within a larger picture of book production and circulation in the Middle Ages. The manuscripts considered here are united both in the themes of their contents and in the complex processes involved in their manufacture, from the production of parchment to the composition of text, and from the planning of pages to the execution of their contents. Although medieval histories could be the work of individuals, who acquired parchment, composed and wrote text, and added any decoration, history books were usually created through the collaboration of authors, scribes, and artists. The decisions made about the investment of resources of time, skills, and materials in these manuscripts seem also to be linked to real or potential patrons, and thus manuscripts were planned with consideration of the experience of the intended owner. The surviving volumes vary significantly in size (both of the folios and the amount of content), and in their appearance. Some manuscripts were made for a local readership, within a monastic community. Others were probably created for historians whose primary interest was in the text, but the most extensively decorated volumes, whether narrative histories, chronicles, or cartularies, can often be linked to a desire to impress powerful patrons. At the same time, new texts were less likely to be copied in manuscripts that required a significant investment of resources, though higher-quality copies might be made once their value was recognized....

This chapter on intensive care unit (ICU) design looks at the ICU from three perspectives—concept to occupancy, the patient room, and supportive services, and advanced informatics. The design process is complex and time-consuming, and relies upon a design team composed of the main users, architects, and hospital administrative representatives; they must develop a vision for the new unit, which includes its purpose, bed number, staffing, workflow and healing environment. The team must then balance innovation with practicality, disparate technologies with standardization and timely purchase, and desires for the best of everything with physical, space, and fiscal limitations. The ICU patient room is the core of the ICU patient, family member, and staff experiences and should be similarly designed and equipped. Supportive spaces fully integrated with the patient rooms and hospital logistic areas and systems help optimize throughput. Informatics systems that electronically integrate the patient room with all aspects of care should be deployed to intelligently utilize and smartly present and display data, manage alarms, monitor the ICU environment, develop virtual device communities, provide real time locating systems, and address local or remote telemedicine requirements.

The composer Thomas Tallis (ca. 1505–November 1585) lived and worked through much of the turbulent Tudor period in England. Unlike many of his contemporaries, he did not just react to radical change: he thrived on it. He helped invent new musical styles to meet the demands of the English Reformation. He revived and reimagined older musical forms for a new era. Fewer than a hundred of his works have survived, but they are incredibly diverse, from miniature settings of psalms and hymns to a monumental forty-voice motet. In this new biography, author Kerry McCarthy traces Tallis’s long career from his youthful appointment at Dover Priory to his years as a senior member of the Chapel Royal. Each chapter is focused on an original document of his life or his music. The book also takes readers on a guided journey down the Thames to the palaces, castles, and houses where Tallis made music for the four monarchs he served. It ends with reflections on Tallis’s will, his epitaph (whose complete text McCarthy has recently rediscovered), and other postmortem remembrances that give us a glimpse of his significant place in the sixteenth-century musical world. A companion website illustrates the book with a broad selection of sound samples from Tallis’s works.

This book surveys the life and work of the great American composer Elliott Carter (1908–2012). It examines his formative, and often ambivalent, engagements with Charles Ives and other “ultra-modernists”, with the classicist ideas he encountered at Harvard and in his three years of study with Nadia Boulanger in Paris; and with the populism developed by his friends Aaron Copland and Marc Blitzstein in Depression-era New York, and the unique synthesis of modernist idioms that he began to develop in the late 1940s. The book re-groups the central phase of Carter’s career, from the Cello Sonata to Syringa in terms of Carter’s synthesis of European and American modernist idioms, or “neo-modernism,” and his complex relation to the European avant-garde. It devotes particular attention to the large number of instrumental and vocal works of Carter’s last two decades, including his only opera, What Next?, and a final legacy project: seven works for voice and large ensemble to poems by the founding generation of American modern poetry: e.e. cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams.

Pindar's Odes, blending beauty of poetic form and profundity of thought, are one of the wonders of Ancient Greece. Composed in the first instance to commemorate athletics victories, they fan out like a peacock's tail to illuminate with brilliant subtlety and imagination the human condition in general, and how our moments of heroic achievement are inevitably tempered by our mortal frailties. This edition aims to make for the first time a selection of these wonderful, but complex, poems accessible and enjoyable not only to scholars and advanced students but especially to sixth-form students and non-Classicists (including anyone interested in Pindar's influence on English poetry). While particular attention is paid to elucidating Pindar's cryptic chains of thoughts and to explaining the significance of the myths in the odes, much greater help than usual in this series is given with translating the Greek. The selection, which contains Pindar's most famous poem (Olympian 1) and two particularly charming mythical stories (in Pythian 9 and Nemean 3), illustrates Pindar's range and variety by including odes commemorating victors at each of the four major games. The book presents Greek text with translation, commentary and notes.

The Mycobacterium tuberculosis complex MTC is composed of several species of mycobacteria which are M. tuberculosis, the main cause of human tuberculosis, M. canetti, M. africanum, M. microti, M. pinnipedii, M. caprae, and M. bovis. Cattle are the principal host of M. bovis, but a large number of other ruminants and other mammals, particularly wildlife are infected. Human tuberculosis is a global problem of huge proportions. More than 95% of human tuberculosis cases occur in developing and transition countries, of which one third are in Africa but the proportion of cases caused by M. bovis is still not known. Today, bovine tuberculosis (BTB) is re-emerging and threatens the livestock industry in industrialized countries with wildlife reservoirs like the wild tailed deer (Odocoileus virginianus) in the USA or the badger (Meles meles) in the UK. Most developing countries lack the means and capacity for effective control of BTB. A better understanding of its epidemiology is required to identify novel, locally adapted options for control in a given context. BTB in Africa is emphasized here because of the special importance of multiple transmission interfaces between wildlife, livestock and humans.In addition to obligatory pathogenic mycobacteria (esp. members of the MTC), potentially pathogenic mycobacteria (PPM) previously designated as ‘mycobacteria other than tubercle bacilli’ (MOTT) are increasingly important causes of mycobacterioses in humans and animals. Most of them are opportunistic in humans and occur mostly in immunocompromised patients. The mycobacteria that cause human disease are both the M. avium complex (MAC) members and other mycobacterial species MAC members have been detected in more than 95% of cases; this chapter will mainly focus on M. avium subsp. avium, M. a. hominissuis, and M. intracellulare.

Melania the Younger: From Rome to Jerusalem analyzes one of the most richly detailed stories of a woman of late antiquity. Melania, an early fifth-century Roman Christian aristocrat, renounced her many possessions and staggering wealth to lead a life of ascetic renunciation. Hers is a tale of “riches to rags.” Born to high Roman aristocracy in the late fourth century, Melania encountered numerous difficulties posed by family members, Roman officials, and historical circumstances themselves in disposing of her wealth, property spread across at least eight Roman provinces, and thousands of slaves. Leaving Rome with her entourage a few years before Gothic sack of Rome in 410, she journeyed to Sicily, then to North Africa (where she had estates upon which she founded monasteries), before settling in Jerusalem. There, after some years of semi-solitary existence, she founded more monastic complexes. Toward the end of her life, she traveled to Constantinople in an attempt to convert to Christianity her still-pagan uncle, who was on a state mission to the eastern Roman court. Throughout her life, she frequently met and assisted emperors and empresses, bishops, and other high dignitaries. Embracing an extreme asceticism, Melania died in Jerusalem in 439. Her Life, two versions of which (Greek and Latin) were discovered in the late nineteenth and early twentieth centuries, was composed by a longtime assistant who succeeded her in directing the male and female monasteries in Jerusalem. An English translation of the Greek version of her Life accompanies the text of this book.

Jacobus Kloppers, an eminent composer, organist, pedagogue, and scholar, significantly contributed to musicological and organ teaching in South Africa and Canada and, in the latter context, art music, and liturgical composition. A Passage of Nostalgia – The Life and Work of Jacobus Kloppers, as a symbolic gesture, constitute recognition of his work both in South Africa and Canada. This publication is unique in that, apart from relevant disciplinary perspectives, biographical and autobiographical narrative, and anecdote, all constitute a necessary means through which the authors illuminate Kloppers’ compositional process and its creative outcomes. In this regard, Kloppers generously dedicated his time to the project to make information on his life and work available, often in complex ways. This retrospective input supports the work offered as an authentic, self-reflective recounting of a life of dedicated service in music. The construct of nostalgia as an overarching theme to this volume on some level denotes Kloppers’ position of cultural and religious ‘insidedness’ and ‘outsidedness’. However, apart from representing a return to a lost and challenging past, the composer’s creative work affirms his individuality, sense of artistic self, and propensity for spiritual acceptance and tolerance. Moreover, nostalgia in his oeuvre takes on importance as a rhetorical artistic practice by which continuity is as central as discontinuity.

Social insects--ants, bees, termites, and wasps--can be viewed as powerful problem-solving systems with sophisticated collective intelligence. Composed of simple interacting agents, this intelligence lies in the networks of interactions among individuals and between individuals and the environment. A fascinating subject, social insects are also a powerful metaphor for artificial intelligence, and the problems they solve--finding food, dividing labor among nestmates, building nests, responding to external challenges--have important counterparts in engineering and computer science. This book provides a detailed look at models of social insect behavior and how to apply these models in the design of complex systems. The book shows how these models replace an emphasis on control, preprogramming, and centralization with designs featuring autonomy, emergence, and distributed functioning. These designs are proving immensely flexible and robust, able to adapt quickly to changing environments and to continue functioning even when individual elements fail. In particular, these designs are an exciting approach to the tremendous growth of complexity in software and information. Swarm Intelligence draws on up-to-date research from biology, neuroscience, artificial intelligence, robotics, operations research, and computer graphics, and each chapter is organized around a particular biological example, which is then used to develop an algorithm, a multiagent system, or a group of robots. The book will be an invaluable resource for a broad range of disciplines.

The introduction sets up the scope and framework of the volume as a whole. Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies. As an object of theoretical focus, the voice has helped correct the long-standing ocularcentrism of film theory discourse. Yet, the voice as a narrow concept is itself problematic in that it limits our understanding of how it functions among the various components of the soundtrack. Understood as part of an integrated soundtrack—that is, a soundtrack where the various components have a sense of being planned or composed and where sound design and music are blended into a kind of conceptual unity—the voice assumes a somewhat different role and allows for a more complex and interpretively richer conceptual framework. This volume aims to reconsider and broaden our notion of what the voice as a concept can do for studies of film music and sound. The introduction explores theoretical concerns relating to film dialogue, vococentrism, the spectacle of the singing voice, film music’s commentative function as voice, as well as the voice of various cinematic authorship and production. It concludes with a brief summary of each chapter in the volume. Considering these many different conceptions of “voice” can provide new perspectives on how we consider the relationship between voice and cinema, broadly defined.

This book contains the first English translation of the lost dream diary of Santiago Ramón y Cajal (1852–1934), the Nobel Prize-winning “father of modern neuroscience.” In the late nineteenth century, while scientific psychologists searched the inner world of human beings for suitable objects of study, Cajal discovered that the nervous system, including the brain, is composed of distinctly independent cells, later termed neurons. “The mysterious butterflies of the soul,” he romantically called them, “whose beating of wings may one day reveal to us the secrets of the mind.” Cajal was contemporary with Sigmund Freud (1856–1939), whose “secrets of the mind” radically influenced a century of thought. Although the two men never met, their lives and works were intimately related, and each is identified with the foundation of a modern intellectual discipline—neurobiology and psychoanalysis—still in conversation and conflict today. In personal letters, Cajal insulted Freud and dismissed his theories as lies. In order to disprove his rival, Cajal returned to an old research project and started recording his own dreams. For the last five years of his life, he abandoned his own neurobiological research and concentrated on psychological manuscripts, including a new “dream book.” Although his intention was to publish, the project was never released. The unfinished work was thought to be lost, until recently, when a Spanish book appeared claiming to feature the dreams of Cajal, along with the untold story of their complex journey into print.

Bones are multifunctional passive organs of movement that supports soft tissue and directly attached muscles. They also protect internal organs and are a reserve of calcium, phosphorus and magnesium. Each bone is covered with periosteum, and the adjacent bone surfaces are covered by articular cartilage. Histologically, the bone is an organ composed of many different tissues. The main component is bone tissue (cortical and spongy) composed of a set of bone cells and intercellular substance (mineral and organic), it also contains fat, hematopoietic (bone marrow) and cartilaginous tissue. Bones are a tissue that even in adult life retains the ability to change shape and structure depending on changes in their mechanical and hormonal environment, as well as self-renewal and repair capabilities. This process is called bone turnover. The basic processes of bone turnover are: • bone modeling (incessantly changes in bone shape during individual growth) following resorption and tissue formation at various locations (e.g. bone marrow formation) to increase mass and skeletal morphology. This process occurs in the bones of growing individuals and stops after reaching puberty • bone remodeling (processes involve in maintaining bone tissue by resorbing and replacing old bone tissue with new tissue in the same place, e.g. repairing micro fractures). It is a process involving the removal and internal remodeling of existing bone and is responsible for maintaining tissue mass and architecture of mature bones. Bone turnover is regulated by two types of transformation: • osteoclastogenesis, i.e. formation of cells responsible for bone resorption • osteoblastogenesis, i.e. formation of cells responsible for bone formation (bone matrix synthesis and mineralization) Bone maturity can be defined as the completion of basic structural development and mineralization leading to maximum mass and optimal mechanical strength. The highest rate of increase in pig bone mass is observed in the first twelve weeks after birth. This period of growth is considered crucial for optimizing the growth of the skeleton of pigs, because the degree of bone mineralization in later life stages (adulthood) depends largely on the amount of bone minerals accumulated in the early stages of their growth. The development of the technique allows to determine the condition of the skeletal system (or individual bones) in living animals by methods used in human medicine, or after their slaughter. For in vivo determination of bone properties, Abstract 10 double energy X-ray absorptiometry or computed tomography scanning techniques are used. Both methods allow the quantification of mineral content and bone mineral density. The most important property from a practical point of view is the bone’s bending strength, which is directly determined by the maximum bending force. The most important factors affecting bone strength are: • age (growth period), • gender and the associated hormonal balance, • genotype and modification of genes responsible for bone growth • chemical composition of the body (protein and fat content, and the proportion between these components), • physical activity and related bone load, • nutritional factors: – protein intake influencing synthesis of organic matrix of bone, – content of minerals in the feed (CA, P, Zn, Ca/P, Mg, Mn, Na, Cl, K, Cu ratio) influencing synthesis of the inorganic matrix of bone, – mineral/protein ratio in the diet (Ca/protein, P/protein, Zn/protein) – feed energy concentration, – energy source (content of saturated fatty acids - SFA, content of polyun saturated fatty acids - PUFA, in particular ALA, EPA, DPA, DHA), – feed additives, in particular: enzymes (e.g. phytase releasing of minerals bounded in phytin complexes), probiotics and prebiotics (e.g. inulin improving the function of the digestive tract by increasing absorption of nutrients), – vitamin content that regulate metabolism and biochemical changes occurring in bone tissue (e.g. vitamin D3, B6, C and K). This study was based on the results of research experiments from available literature, and studies on growing pigs carried out at the Kielanowski Institute of Animal Physiology and Nutrition, Polish Academy of Sciences. The tests were performed in total on 300 pigs of Duroc, Pietrain, Puławska breeds, line 990 and hybrids (Great White × Duroc, Great White × Landrace), PIC pigs, slaughtered at different body weight during the growth period from 15 to 130 kg. Bones for biomechanical tests were collected after slaughter from each pig. Their length, mass and volume were determined. Based on these measurements, the specific weight (density, g/cm3) was calculated. Then each bone was cut in the middle of the shaft and the outer and inner diameters were measured both horizontally and vertically. Based on these measurements, the following indicators were calculated: • cortical thickness, • cortical surface, • cortical index. Abstract 11 Bone strength was tested by a three-point bending test. The obtained data enabled the determination of: • bending force (the magnitude of the maximum force at which disintegration and disruption of bone structure occurs), • strength (the amount of maximum force needed to break/crack of bone), • stiffness (quotient of the force acting on the bone and the amount of displacement occurring under the influence of this force). Investigation of changes in physical and biomechanical features of bones during growth was performed on pigs of the synthetic 990 line growing from 15 to 130 kg body weight. The animals were slaughtered successively at a body weight of 15, 30, 40, 50, 70, 90, 110 and 130 kg. After slaughter, the following bones were separated from the right half-carcass: humerus, 3rd and 4th metatarsal bone, femur, tibia and fibula as well as 3rd and 4th metatarsal bone. The features of bones were determined using methods described in the methodology. Describing bone growth with the Gompertz equation, it was found that the earliest slowdown of bone growth curve was observed for metacarpal and metatarsal bones. This means that these bones matured the most quickly. The established data also indicate that the rib is the slowest maturing bone. The femur, humerus, tibia and fibula were between the values of these features for the metatarsal, metacarpal and rib bones. The rate of increase in bone mass and length differed significantly between the examined bones, but in all cases it was lower (coefficient b <1) than the growth rate of the whole body of the animal. The fastest growth rate was estimated for the rib mass (coefficient b = 0.93). Among the long bones, the humerus (coefficient b = 0.81) was characterized by the fastest rate of weight gain, however femur the smallest (coefficient b = 0.71). The lowest rate of bone mass increase was observed in the foot bones, with the metacarpal bones having a slightly higher value of coefficient b than the metatarsal bones (0.67 vs 0.62). The third bone had a lower growth rate than the fourth bone, regardless of whether they were metatarsal or metacarpal. The value of the bending force increased as the animals grew. Regardless of the growth point tested, the highest values were observed for the humerus, tibia and femur, smaller for the metatarsal and metacarpal bone, and the lowest for the fibula and rib. The rate of change in the value of this indicator increased at a similar rate as the body weight changes of the animals in the case of the fibula and the fourth metacarpal bone (b value = 0.98), and more slowly in the case of the metatarsal bone, the third metacarpal bone, and the tibia bone (values of the b ratio 0.81–0.85), and the slowest femur, humerus and rib (value of b = 0.60–0.66). Bone stiffness increased as animals grew. Regardless of the growth point tested, the highest values were observed for the humerus, tibia and femur, smaller for the metatarsal and metacarpal bone, and the lowest for the fibula and rib. Abstract 12 The rate of change in the value of this indicator changed at a faster rate than the increase in weight of pigs in the case of metacarpal and metatarsal bones (coefficient b = 1.01–1.22), slightly slower in the case of fibula (coefficient b = 0.92), definitely slower in the case of the tibia (b = 0.73), ribs (b = 0.66), femur (b = 0.59) and humerus (b = 0.50). Bone strength increased as animals grew. Regardless of the growth point tested, bone strength was as follows femur > tibia > humerus > 4 metacarpal> 3 metacarpal> 3 metatarsal > 4 metatarsal > rib> fibula. The rate of increase in strength of all examined bones was greater than the rate of weight gain of pigs (value of the coefficient b = 2.04–3.26). As the animals grew, the bone density increased. However, the growth rate of this indicator for the majority of bones was slower than the rate of weight gain (the value of the coefficient b ranged from 0.37 – humerus to 0.84 – fibula). The exception was the rib, whose density increased at a similar pace increasing the body weight of animals (value of the coefficient b = 0.97). The study on the influence of the breed and the feeding intensity on bone characteristics (physical and biomechanical) was performed on pigs of the breeds Duroc, Pietrain, and synthetic 990 during a growth period of 15 to 70 kg body weight. Animals were fed ad libitum or dosed system. After slaughter at a body weight of 70 kg, three bones were taken from the right half-carcass: femur, three metatarsal, and three metacarpal and subjected to the determinations described in the methodology. The weight of bones of animals fed aa libitum was significantly lower than in pigs fed restrictively All bones of Duroc breed were significantly heavier and longer than Pietrain and 990 pig bones. The average values of bending force for the examined bones took the following order: III metatarsal bone (63.5 kg) <III metacarpal bone (77.9 kg) <femur (271.5 kg). The feeding system and breed of pigs had no significant effect on the value of this indicator. The average values of the bones strength took the following order: III metatarsal bone (92.6 kg) <III metacarpal (107.2 kg) <femur (353.1 kg). Feeding intensity and breed of animals had no significant effect on the value of this feature of the bones tested. The average bone density took the following order: femur (1.23 g/cm3) <III metatarsal bone (1.26 g/cm3) <III metacarpal bone (1.34 g / cm3). The density of bones of animals fed aa libitum was higher (P<0.01) than in animals fed with a dosing system. The density of examined bones within the breeds took the following order: Pietrain race> line 990> Duroc race. The differences between the “extreme” breeds were: 7.2% (III metatarsal bone), 8.3% (III metacarpal bone), 8.4% (femur). Abstract 13 The average bone stiffness took the following order: III metatarsal bone (35.1 kg/mm) <III metacarpus (41.5 kg/mm) <femur (60.5 kg/mm). This indicator did not differ between the groups of pigs fed at different intensity, except for the metacarpal bone, which was more stiffer in pigs fed aa libitum (P<0.05). The femur of animals fed ad libitum showed a tendency (P<0.09) to be more stiffer and a force of 4.5 kg required for its displacement by 1 mm. Breed differences in stiffness were found for the femur (P <0.05) and III metacarpal bone (P <0.05). For femur, the highest value of this indicator was found in Pietrain pigs (64.5 kg/mm), lower in pigs of 990 line (61.6 kg/mm) and the lowest in Duroc pigs (55.3 kg/mm). In turn, the 3rd metacarpal bone of Duroc and Pietrain pigs had similar stiffness (39.0 and 40.0 kg/mm respectively) and was smaller than that of line 990 pigs (45.4 kg/mm). The thickness of the cortical bone layer took the following order: III metatarsal bone (2.25 mm) <III metacarpal bone (2.41 mm) <femur (5.12 mm). The feeding system did not affect this indicator. Breed differences (P <0.05) for this trait were found only for the femur bone: Duroc (5.42 mm)> line 990 (5.13 mm)> Pietrain (4.81 mm). The cross sectional area of the examined bones was arranged in the following order: III metatarsal bone (84 mm2) <III metacarpal bone (90 mm2) <femur (286 mm2). The feeding system had no effect on the value of this bone trait, with the exception of the femur, which in animals fed the dosing system was 4.7% higher (P<0.05) than in pigs fed ad libitum. Breed differences (P<0.01) in the coross sectional area were found only in femur and III metatarsal bone. The value of this indicator was the highest in Duroc pigs, lower in 990 animals and the lowest in Pietrain pigs. The cortical index of individual bones was in the following order: III metatarsal bone (31.86) <III metacarpal bone (33.86) <femur (44.75). However, its value did not significantly depend on the intensity of feeding or the breed of pigs.