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Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.
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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works dedicated to various aspects of the artist’s and composer’s artwork. According to J.W. Goethe’s and F. List’s studies, Raphael’s and Mozart’s creations appear to be congenial. Romantic poets and artists took up Goethe’s and List’s ideas and developed them in their own fashion. E.T.A. Hoffmann was the first to pay attention to color symbolism in Mozart’s works, and the coloration of Raphael’s paintings influenced K. Bryullov. In the 20th century, G.V. Chicherin and H. Abert made their contribution to investigating a possible interrelation between Raphael’s and Mozarts’ works of art. In the article, the author considers an interpretation of the color on the fresco «The School of Athens» by Raphael and also in the songs and operas by Mozart.
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Panjaitan, Harry Mangasi Binsar, Hermanto Tri Joewono, and Widjiati Widjiati. "Default sequence of Mozart’s compositions during pregnancy gave higher dendritic density in the cerebrum and cerebellum of Rattus norvegicus offsprings compared with reversed sequence and control." Majalah Obstetri & Ginekologi 27, no. 1 (May 23, 2019): 5. http://dx.doi.org/10.20473/mog.v1i12019.5-11.
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Objectives: This study aim to determine sequence of Mozart songs in the analyzing differences in dendritic density of cerebellum and cerebellum of new born Rattus novergicusMaterials and Methods: Experimental study randomized post test only control group design using Rattus norvegicus. Animal subjects were divided into three groups which were control group, and the treatment group that were given exposure to default sequence and reversed sequence of Mozart's music from gestation day 10. We used a comparison test in the analysis expression of BDNF.Results: In the cerebrum there was a significant difference in the Mozart group in reverse rather than with Mozart standard sequence and in standard Mozart group with no exposure group, with p=0.003 and p=0.000. In the cerebellum there was a significant difference in the group in reverse rather than with standard Mozart and in the standard Mozart group with the control group, with p=0.000 and p=0.000. However, there was no significant difference between control group and Mozart group upside down in cerebrum and cerebellum with p=0.109 and p=0.077Conclusion: The density of dendrites in the cerebrum and cerebellum of Rattus norvegicus newborn exposed to Mozart's music during pregnancy with standard Mozart sequence was higher than that in those receiving reverse order and without exposure. There were no significant differences between the density of the cerebrum and cerebellum dendrites between groups exposed to reversed sequence of Mozart composition and those without exposure.
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MELAMED, DANIEL R. "Counterpoint in Mozart’s Die Entführung aus dem Serail." Cambridge Opera Journal 20, no. 1 (March 2008): 25–51. http://dx.doi.org/10.1017/s0954586708002395.
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ABSTRACTCounterpoint plays a surprisingly large role in the musical language of Mozart’s Die Entführung au dem Serail. In solo material for the deep bass voice of the character Osmin Mozart suggested contapuntal relationships with other parts to give the vocal line independence from the instrumental bass. In ensemble numbers like Osmin and Blonde’s duet No. 9 the composer strongly suggested a contrapuntal relationship between lines sung by antagonistic characters. In Osmin and Belmonte’s duet No. 2, represented in the sources in a nearly complete sketch, Mozard used numerous contrapuntal techniques in support of the dramatic situation. Though the work was composed right around Mozart’s well-known Bach year of 1782, most of the counterpoint is not particularly Bachian. But the polyphonic textures and contrapuntal thinking mark the work as stylistically connected with the composer’s most mature music. Contrapuntal analysis turns out to be a useful perspective of Mozart’s operatic writing.
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Arif, Muhammad, and Yuli Permata Sari. "EFEKTIFITAS TERAPI MUSIK MOZART TERHADAP PENURUNAN INTENSITAS NYERI PASIEN POST OPERASI FRAKTUR." Jurnal Kesehatan Medika Saintika 10, no. 1 (June 1, 2019): 69. http://dx.doi.org/10.30633/jkms.v10i1.310.
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ABSTRAKNyeri dapat diatasi dengan berbagai metode yang dapat dilakukan oleh pasien dalam membantu mengurangi dan menghilangkan nyeri khususnya nyeri pasca operasi fraktur salah satunya adalah dengan terapi musik mozart. Studi pendahuluan di Ruang Bedah RS. Dr. Achmad Mochtar Bukittinggi, didapatkan data informasi dari perawat ruangan bahwa dalam mengatasi nyeri pasien post operasi belum ada yang menerapkan tindakan pemberian terapi musik Mozart. Tujuan penelitian ini adalah Untuk mengetahui Efektifitas Terapi Musik Mozart Terhadap Penurunan Intensitas Nyeri Pasien Post Operasi Fraktur.Desain penelitian ini adalah Pre Experimental Design,dengan mengunakan One-grup pretest postest, sampel pada penelitian ini adalah pasien post operasi fraktur yang berjumlah15 orang yang diambil dengan tekhnik Accidental Sampling. Hasil analisis uji statistik non parametrik dengan menggunakan Wilcoxondengan tingkat kepercayaan 95% (α = 0,05) diperoleh nilai p value adalah 0,001, dengan demikian p value> α (0,001>0,05) sehingga dapat disimpulkan bahwa terapi mozart efektif dalam penurunan Intensitas Nyeri Pasien Post Operasi Fraktur. Disarankan kepada responden untuk dapat menerapkan terapi mozart sebagai alternatif untuk meminimalkan nyeri tidak hanya di rumah sakit melainkan di rumah saat sudah keluar dari rumah sakit.Kata Kunci: Terapi Musik Mozart, Intensitas Nyeri, Pasien Post Op Fraktur EFFECTIVENESS OF MOZART MUSIC THERAPY TOWARDS REDUCTION OF PATIENT INTENSITY POST OPERATION FRACTURESABSTRACTPain can be overcome by various methods that can be done by the patient in helping reduce and eliminate pain, especially post-fracture pain, one of which is Mozart's music therapy. Preliminary study in the Surgery Room. Dr. Achmad Mochtar Bukittinggi Hospital, obtained information data from room nurses that there was no one in overcoming the pain of postoperative patients applying Mozart's music therapy. The purpose of this study was to determine the effectiveness of Mozart's music therapy on the reduction of pain intensity in post patients fracture. The design of this study was Pre Experimental Design, using the One-group pretest posttest, the sample in this study were 15 postoperative fracture patients taken with the technique of Accidental Sampling. The results of non parametric statistical test analysis using Wilcoxon with a confidence level of 95% (α = 0.05) obtained p value is 0.001, thus p value> α (0.001> 0.05) so it can be concluded that mozart therapy is effective in decreasing Pain Intensity of Post Patients Fracture Surgery. It is recommended for respondents to be able to apply Mozart therapy as an alternative to minimize pain not only in the hospital but at home when they are discharged from the hospital.Key Words : Mozart Music Therapy, Pain Intensity, Patient Fracture Post Op
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Lin, Lung-Chang, Mei-Wen Lee, Ruey-Chang Wei, Hin-Kiu Mok, Hui-Chuan Wu, Chin-Lin Tsai, and Rei-Cheng Yang. "Mozart K.545 Mimics Mozart K.448 in Reducing Epileptiform Discharges in Epileptic Children." Evidence-Based Complementary and Alternative Medicine 2012 (2012): 1–6. http://dx.doi.org/10.1155/2012/607517.
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Mozart K.448 has been shown to improve cognitive function, leading to what is known as the Mozart Effect. Our previous work reveals positive effects of Mozart K.448 in reducing epileptiform discharges in epileptic children. In this study, we evaluated the effect of Mozart K.545 and compared the effects with those of Mozart K.448 on epileptiform discharges in children with epilepsy. Thirty-nine epileptic children with epileptiform discharges were included in the study. They received electroencephalogram examinations before, during, and after listening to Mozart K.448 and K.545, one week apart, respectively. The frequencies of epileptiform discharges were compared. There was a significant decrease in the frequency of epileptiform discharges during and right after listening to Mozart K.448 and K.545 (reduced by35.7±32.7% during Mozart K.448 and30.3±44.4% after Mozart K.448; and34.0±39.5% during Mozart K.545 and31.8±39.2% after Mozart K.545). Spectrogrammatic analysis of the two pieces of music demonstrated that both share similar spectrogrammatic characteristics. Listening to Mozart K.448 and K.545 decreased the epileptiform discharges in epileptic children. This suggests that Mozart K.448 is not the only piece of music to have beneficial effects on children with epilepsy. Other music with lower harmonics may also decrease epileptiform discharges in epileptic children.
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Schachter, Carl. "20th-century analysis and Mozart performance." Early Music XIX, no. 4 (November 1991): 620–28. http://dx.doi.org/10.1093/earlyj/xix.4.620.
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Hidayati, Agustina, Hermanto Tri Joewono, and Widjiati Widjiati. "Increased Brain Derived Neurothropic Factor in the cerebrum and cerebellum of Rattus norvegicus newborn with exposure to Mozart's music in default sequence compared with the reversed sequence and without exposure during gestation." Majalah Obstetri & Ginekologi 26, no. 2 (August 23, 2018): 67. http://dx.doi.org/10.20473/mog.v26i22018.67-73.
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Objectives: To analyze the differences in the expression of Brain Derived Neurothropic Factor (BDNF) in Rattus norvegicus cerebrum and cerebellum of newborn between those exposed to Mozart's music composition in default sequence, reverse sequence, and without exposure in the womb.Materials and Methods: Analytical laboratory experimental study with randomized post test only control group design using animal models Rattus norvegicus. The animal models were divided into three groups: control group without any exposure, the treatment groups with exposure to Mozart's music in default sequence and another group in reverse sequence since day 10 of gestation. We used a comparison test in the analysis of BDNF expression.Results: We found significant difference in BDNF expression with p value 0.004 (mean 8.98±1.31 default sequence group, 5.58±3.08 reverse sequence group, 6.80±1.95 control) in the cerebrum. We found significant difference of BDNF expression with p value 0.003 (mean 9.48±1.41 default sequence group, 6.02±3.25 reverse sequence group, 7.14±2.54 control) in the cerebellum. In cerebrum dan cerebellum we found significant difference between standard Mozart’s music and control (cere-brum p=0.018, cerebellum p=0.001), and we found significant difference between standard Mozart’s music and reverse Mozart’s music (cerebrum p=0.001, cerebellum p=0.008) and no significant difference in reverse Mozart and control (cerebrum p=0.264, cerebellum p=0.490)Conclusion: Sequence in Mozart’s music is very important in increase expression of BDNF.
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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.
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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.
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Pietschnig, Jakob, Martin Voracek, and Anton K. Formann. "Mozart effect–Shmozart effect: A meta-analysis." Intelligence 38, no. 3 (May 2010): 314–23. http://dx.doi.org/10.1016/j.intell.2010.03.001.
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Štillová, Klára, Tomáš Kiska, Eva Koriťáková, Ondřej Strýček, Jiří Mekyska, Jan Chrastina, and Ivan Rektor. "Mozart effect in epilepsy: Why is Mozart better than Haydn? Acoustic qualities‐based analysis of stereoelectroencephalography." European Journal of Neurology 28, no. 5 (February 24, 2021): 1463–69. http://dx.doi.org/10.1111/ene.14758.
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Flemming, J., V. Huijnen, J. Arteta, P. Bechtold, A. Beljaars, A. M. Blechschmidt, M. Diamantakis, et al. "Tropospheric chemistry in the Integrated Forecasting System of ECMWF." Geoscientific Model Development 8, no. 4 (April 7, 2015): 975–1003. http://dx.doi.org/10.5194/gmd-8-975-2015.
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Abstract. A representation of atmospheric chemistry has been included in the Integrated Forecasting System (IFS) of the European Centre for Medium-Range Weather Forecasts (ECMWF). The new chemistry modules complement the aerosol modules of the IFS for atmospheric composition, which is named C-IFS. C-IFS for chemistry supersedes a coupled system in which chemical transport model (CTM) Model for OZone and Related chemical Tracers 3 was two-way coupled to the IFS (IFS-MOZART). This paper contains a description of the new on-line implementation, an evaluation with observations and a comparison of the performance of C-IFS with MOZART and with a re-analysis of atmospheric composition produced by IFS-MOZART within the Monitoring Atmospheric Composition and Climate (MACC) project. The chemical mechanism of C-IFS is an extended version of the Carbon Bond 2005 (CB05) chemical mechanism as implemented in CTM Transport Model 5 (TM5). CB05 describes tropospheric chemistry with 54 species and 126 reactions. Wet deposition and lightning nitrogen monoxide (NO) emissions are modelled in C-IFS using the detailed input of the IFS physics package. A 1 year simulation by C-IFS, MOZART and the MACC re-analysis is evaluated against ozonesondes, carbon monoxide (CO) aircraft profiles, European surface observations of ozone (O3), CO, sulfur dioxide (SO2) and nitrogen dioxide (NO2) as well as satellite retrievals of CO, tropospheric NO2 and formaldehyde. Anthropogenic emissions from the MACC/CityZen (MACCity) inventory and biomass burning emissions from the Global Fire Assimilation System (GFAS) data set were used in the simulations by both C-IFS and MOZART. C-IFS (CB05) showed an improved performance with respect to MOZART for CO, upper tropospheric O3, and wintertime SO2, and was of a similar accuracy for other evaluated species. C-IFS (CB05) is about 10 times more computationally efficient than IFS-MOZART.
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Flemming, J., V. Huijnen, J. Arteta, P. Bechtold, A. Beljaars, A. M. Blechschmidt, B. Josse, et al. "Tropospheric chemistry in the integrated forecasting system of ECMWF." Geoscientific Model Development Discussions 7, no. 6 (November 18, 2014): 7733–803. http://dx.doi.org/10.5194/gmdd-7-7733-2014.
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Abstract. A representation of atmospheric chemistry has been included in the Integrated Forecasting System (IFS) of the European Centre for Medium-range Weather Forecasts (ECMWF). The new chemistry modules complement the aerosol modules of the IFS for atmospheric composition, which is named C-IFS. C-IFS for chemistry supersedes a coupled system, in which the Chemical Transport Model (CTM) Model for OZone and Related chemical Tracers 3 was two-way coupled to the IFS (IFS-MOZART). This paper contains a description of the new on-line implementation, an evaluation with observations and a comparison of the performance of C-IFS with MOZART and with a re-analysis of atmospheric composition produced by IFS-MOZART within the Monitoring Atmospheric Composition and Climate (MACC) project. The chemical mechanism of C-IFS is an extended version of the Carbon Bond 2005 (CB05) chemical mechanism as implemented in the CTM Transport Model 5 (TM5). CB05 describes tropospheric chemistry with 54 species and 126 reactions. Wet deposition and lightning nitrogen monoxide (NO) emissions are modelled in C-IFS using the detailed input of the IFS physics package. A one-year simulation by C-IFS, MOZART and the MACC re-analysis is evaluated against ozonesondes, carbon monoxide (CO) aircraft profiles, European surface observations of ozone (O3), CO, sulphur dioxide (SO2) and nitrogen dioxide (NO2) as well as satellite retrievals of CO, tropospheric NO2 and formaldehyde. Anthropogenic emissions from the MACC/CityZen (MACCity) inventory and biomass burning emissions from the Global Fire Assimilation System (GFAS) data set were used in the simulations by both C-IFS and MOZART. C-IFS (CB05) showed an improved performance with respect to MOZART for CO, upper tropospheric O3, winter time SO2 and was of a similar accuracy for other evaluated species. C-IFS (CB05) is about ten times more computationally efficient than IFS-MOZART.
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STEELE, KENNETH M. "Do Rats Show a Mozart Effect?" Music Perception 21, no. 2 (2003): 251–65. http://dx.doi.org/10.1525/mp.2003.21.2.251.
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The ““Mozart effect”” is an increase in spatial reasoning scores after listening to a Mozart piano sonata. Both the production and interpretation of the effect are controversial. Many studies have failed to replicate the original effect. Other studies have explained a Mozart effect as being caused by changes in arousal or differences in preferences of the listener. F. H. Rauscher, K. D. Robinson, and J. J. Jens (1998) reported that rats learned to complete a T-maze more quickly if they had been exposed in utero and reared hearing a Mozart piano sonata. They concluded that the result indicated a direct effect of the music on brain development and contradicted competing accounts of arousal or preference. This article is an analysis of the experiment by Rauscher et al. The in utero exposure would have been ineffective because rats are born deaf. A comparison of human and rat audiograms, in the context of the frequencies produced by a piano, suggests that adult rats are deaf to most notes in the sonata. The successful performance of the Mozart group may be explained by the incomplete use of random assignment of subjects to groups and by experimenter effects in the construction of groups. The results of Rauscher et al. (1998) do not provide strong support for the existence of the Mozart effect.
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MIKUSI, BALÁZS. "INTERNATIONAL MOZART CONFERENCE STIFTUNG MOZARTEUM SALZBURG, 2–5 OCTOBER 2014." Eighteenth Century Music 12, no. 2 (August 24, 2015): 269–71. http://dx.doi.org/10.1017/s1478570615000202.
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Conferences organized by the Stiftung Mozarteum Salzburg inevitably serve as a kind of touchstone: one tends to view the programme as a representative muster of international Mozart scholarship. Since on this occasion the organizers explicitly devoted part of the event to analysis (broadly understood as ‘scholarly work interpretation’), the October 2014 snapshot proved especially rich in insights, suggesting that the tools recently developed for the analysis of ‘galant style’ have much to offer for Mozart scholars, while ‘old-school’ source research still bears its fruits as well.
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Elguindi, N., H. Clark, C. Ordóñez, V. Thouret, J. Flemming, O. Stein, V. Huijnen, et al. "Current status of the ability of the GEMS/MACC models to reproduce the tropospheric CO vertical distribution as measured by MOZAIC." Geoscientific Model Development 3, no. 2 (October 12, 2010): 501–18. http://dx.doi.org/10.5194/gmd-3-501-2010.
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Abstract. Vertical profiles of CO taken from the MOZAIC aircraft database are used to globally evaluate the performance of the GEMS/MACC models, including the ECMWF-Integrated Forecasting System (IFS) model coupled to the CTM MOZART-3 with 4DVAR data assimilation for the year 2004. This study provides a unique opportunity to compare the performance of three offline CTMs (MOZART-3, MOCAGE and TM5) driven by the same meteorology as well as one coupled atmosphere/CTM model run with data assimilation, enabling us to assess the potential gain brought by the combination of online transport and the 4DVAR chemical satellite data assimilation. First we present a global analysis of observed CO seasonal averages and interannual variability for the years 2002–2007. Results show that despite the intense boreal forest fires that occurred during the summer in Alaska and Canada, the year 2004 had comparably lower tropospheric CO concentrations. Next we present a validation of CO estimates produced by the MACC models for 2004, including an assessment of their ability to transport pollutants originating from the Alaskan/Canadian wildfires. In general, all the models tend to underestimate CO. The coupled model and the CTMs perform best in Europe and the US where biases range from 0 to -25% in the free troposphere and from 0 to -50% in the surface and boundary layers (BL). Using the 4DVAR technique to assimilate MOPITT V4 CO significantly reduces biases by up to 50% in most regions. However none of the models, even the IFS-MOZART-3 coupled model with assimilation, are able to reproduce well the CO plumes originating from the Alaskan/Canadian wildfires at downwind locations in the eastern US and Europe. Sensitivity tests reveal that deficiencies in the fire emissions inventory and injection height play a role.
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Elguindi, N., C. Ordóñez, V. Thouret, J. Flemming, O. Stein, V. Huijnen, P. Moinat, et al. "Current status of the ability of the GEMS/MACC models to reproduce the tropospheric CO vertical distribution as measured by MOZAIC." Geoscientific Model Development Discussions 3, no. 2 (April 8, 2010): 391–449. http://dx.doi.org/10.5194/gmdd-3-391-2010.
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Abstract. Vertical profiles of CO taken from the MOZAIC aircraft database are used to present (1) a global analysis of CO seasonal averages and interannual variability for the years 2002–2007 and (2) a global validation of CO estimates produced by the MACC models for 2004, including an assessment of their ability to transport pollutants originating from the Alaskan/Canadian wildfires. Seasonal averages and interannual variability from several MOZAIC sites representing different regions of the world show that CO concentrations are highest and most variable during the winter season. The inter-regional variability is significant with concentrations increasing eastward from Europe to Japan. The impact of the intense boreal fires, particularly in Russia, during the fall of 2002 on the Northern Hemisphere CO concentrations throughout the troposphere is well represented by the MOZAIC data. A global validation of the GEMS/MACC GRG models which include three stand-alone CTMs (MOZART, MOCAGE and TM5) and the coupled ECMWF Integrated Forecasting System (IFS)/MOZART model with and without MOPITT CO data assimilation show that the models have a tendency to underestimate CO. The models perform best in Europe and the US where biases range from 0 to –25% in the free troposphere and from 0 to –50% in the surface and boundary layers (BL). The biases are largest in the winter and during the daytime when emissions are highest, indicating that current inventories are too low. Data assimilation is shown to reduce biases by up to 25% in some regions. The models are not able to reproduce well the CO plumes originating from the Alaskan/Canadian wildfires at downwind locations in the eastern US and Europe, not even with assimilation. Sensitivity tests reveal that this is mainly due to deficiencies in the fire emissions inventory and injection height.
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Pawar, Pooja V., Sachin D. Ghude, Chinmay Jena, Andrea Móring, Mark A. Sutton, Santosh Kulkarni, Deen Mani Lal, et al. "Analysis of atmospheric ammonia over South and East Asia based on the MOZART-4 model and its comparison with satellite and surface observations." Atmospheric Chemistry and Physics 21, no. 8 (April 27, 2021): 6389–409. http://dx.doi.org/10.5194/acp-21-6389-2021.
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Abstract. Limited availability of atmospheric ammonia (NH3) observations limits our understanding of controls on its spatial and temporal variability and its interactions with the ecosystem. Here we used the Model for Ozone and Related chemical Tracers version 4 (MOZART-4) global chemistry transport model and the Hemispheric Transport of Air Pollution version 2 (HTAP-v2) emission inventory to simulate global NH3 distribution for the year 2010. We presented a first comparison of the model with monthly averaged satellite distributions and limited ground-based observations available across South Asia. The MOZART-4 simulations over South Asia and East Asia were evaluated with the NH3 retrievals obtained from the Infrared Atmospheric Sounding Interferometer (IASI) satellite and 69 ground-based monitoring stations for air quality across South Asia and 32 ground-based monitoring stations from the Nationwide Nitrogen Deposition Monitoring Network (NNDMN) of China. We identified the northern region of India (Indo-Gangetic Plain, IGP) as a hotspot for NH3 in Asia, both using the model and satellite observations. In general, a close agreement was found between yearly averaged NH3 total columns simulated by the model and IASI satellite measurements over the IGP, South Asia (r=0.81), and the North China Plain (NCP), East Asia (r=0.90). However, the MOZART-4-simulated NH3 column was substantially higher over South Asia than East Asia, as compared with the IASI retrievals, which show smaller differences. Model-simulated surface NH3 concentrations indicated smaller concentrations in all seasons than surface NH3 measured by the ground-based observations over South and East Asia, although uncertainties remain in the available surface NH3 measurements. Overall, the comparison of East Asia and South Asia using both MOZART-4 model and satellite observations showed smaller NH3 columns in East Asia compared with South Asia for comparable emissions, indicating rapid dissipation of NH3 due to secondary aerosol formation, which can be explained by larger emissions of acidic precursor gases in East Asia.
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PICU, Laurentiu, and Eugen RUSU. "AN ANALYSIS OF THE EFFECT OF THE BODY VIBRATIONS ON THE HUMAN PERFORMANCES." Mechanical Testing and Diagnosis 10, no. 4 (January 12, 2021): 5–11. http://dx.doi.org/10.35219/mtd.2020.4.01.
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In this paper, we wanted to check if classical music can improve the intellectual and practical skills of those who work in very difficult conditions. For this, we exposed 44 male students, aged 21-24, with normal BMI (19-24), in perfect health, to four types of stressors, when there is classical music as a sic sound background and when we have no music. The stressors used were vibration, excessive temperature, and humidity as well as very strong light. Two pieces of music were chosen as background: "Eine Kleine Nachtmusik" (Mozart) and "Minuetto" (Boccherini). These 2 musical works were chosen because they are cheerful, optimistic, written in an alert rhythm, easily recognizable even if the audience is not music lovers. Students’ performance was measured using 3 tests: the Purdue Pegboard Test, the Stroop Color and Word Test and also Comparing of Names Test. The results show that neither Mozart's music nor Boccherini's music led to an improvement in student performances; on the contrary, better results were obtained when it was silence.
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McCutcheon, Lynn E. "Another Failure to Generalize the Mozart Effect." Psychological Reports 87, no. 1 (August 2000): 325–30. http://dx.doi.org/10.2466/pr0.2000.87.1.325.
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Several studies have not replicated Rauscher, Shaw, and Ky's 1993 finding that 10 minutes of exposure to Mozart piano music temporarily enhanced performance on three spatial reasoning tasks. Later Rauscher and Shaw argued that enhanced performance is unlikely unless three conditions are met. The present study was designed to meet those three conditions. 36 adults were exposed to one of six listening orders and one of six test orders. Listening and test orders had no systematic effect on spatial reasoning performance. A one-factor, repeated-measures analysis of variance yielded no significant difference on spatial reasoning performance after listening to classical music, jazz, or silence. A reanalysis, using only those items most likely to tap spatial reasoning, fell short of significance, and mean scores were in the direction opposite to that hypothesized. These results were inconsistent with studies that have supported a Mozart effect.
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Thompson, William Forde. "Composer-Specific Aspects of Musical Performance: An Evaluation of Clynes's Theory of Pulse for Performances of Mozart and Beethoven." Music Perception 7, no. 1 (1989): 15–42. http://dx.doi.org/10.2307/40285446.
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This report examines Clynes's theory of "pulse" for performances of music by Mozart and Beethoven (e. g., Clynes, 1983,1987). In three experiments that used a total of seven different compositions, an analysis-bysynthesis approach was used to examine the repetitive patterns of timing and loudness thought to be associated with performances of Mozart and Beethoven. Across performances, judgments by trained musicians provided support for some of the basic claims made by Clynes. However, judgments of individual performances were not always consistent with predictions. In Experiment 1, melodies were judged to be more musical if they were played with the pulse than if they were played with an altered version of the pulse or if they were played without expression. In Experiment 2, listeners were asked to judge whether performances of Mozart were "Mozartian" and whether performances of Beethoven were " Beethovenian." Ratings were highest if the pulse of the composer was implemented, and significantly lower if the pulse of another composer was implemented (e. g., the Mozart pulse in the Beethoven piece) in all or part of each piece. In Experiment 3, a Beethoven piece was played with each of three pulses: Beethoven, Haydn, and Schubert. Listeners judged the version with the Beethoven pulse as most Beethovenian, but the version with the Haydn pulse as most "musical." Although the overall results were encouraging, it is suggested that there are significant difficulties in evaluating Clynes's theory and that much more research is needed before his ideas can be assessed adequately. The need for clarification of some theoretical issues surrounding the concept of pulse is emphasized.
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Emmons, L. K., E. C. Apel, J. F. Lamarque, P. G. Hess, M. Avery, D. Blake, W. Brune, et al. "Impact of Mexico City emissions on regional air quality from MOZART-4 simulations." Atmospheric Chemistry and Physics Discussions 10, no. 2 (February 9, 2010): 3457–98. http://dx.doi.org/10.5194/acpd-10-3457-2010.
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Abstract. An extensive set of measurements was made in and around Mexico City as part of the MILAGRO (Megacity Initiative: Local and Global Research Observations) experiments in March 2006. Simulations with the Model for Ozone and Related Chemical Tracers, version 4 (MOZART-4), a global chemical transport model, have been used to provide a regional context for these observations and assist in their interpretation. These MOZART-4 simulations reproduce the aircraft observations generally well, but some differences in the modeled volatile organic compounds (VOCs) from the observations result from incorrect VOC speciation assumed for the emission inventories. The different types of CO sources represented in the model have been "tagged" to quantify the contributions of regions outside Mexico, as well as the various emissions sectors within Mexico, to the regional air quality of Mexico. This analysis indicates open fires have some, but not a dominant, impact on the atmospheric composition in the region around Mexico City, when averaged over the month. However, considerable variation in the fire contribution (2–15% of total CO) is seen during the month. The transport and photochemical aging of Mexico City emissions were studied using tags of CO emissions for each day, showing that typically the air near Mexico City was a combination of many ages. Ozone production in MOZART-4 is shown to agree well with the net production rates from box model calculations constrained by the MILAGRO aircraft measurements. Ozone production efficiency derived from the ratio of Ox to NOz is higher in MOZART-4 than in the observations for moderately polluted air. OH reactivity determined from the MOZART-4 results shows the same increase in relative importance of oxygenated VOCs downwind of Mexico City as the reactivity inferred from the observations. The amount of ozone produced by emissions from Mexico City and surrounding areas has been quantified in the model by tracking NO emissions, showing little influence beyond Mexico's borders, and also relatively minor influence from fire emissions on the monthly average tropospheric ozone column.
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Emmons, L. K., E. C. Apel, J. F. Lamarque, P. G. Hess, M. Avery, D. Blake, W. Brune, et al. "Impact of Mexico City emissions on regional air quality from MOZART-4 simulations." Atmospheric Chemistry and Physics 10, no. 13 (July 9, 2010): 6195–212. http://dx.doi.org/10.5194/acp-10-6195-2010.
Full textAbstract:
Abstract. An extensive set of measurements was made in and around Mexico City as part of the MILAGRO (Megacity Initiative: Local and Global Research Observations) experiments in March 2006. Simulations with the Model for Ozone and Related Chemical Tracers, version 4 (MOZART-4), a global chemical transport model, have been used to provide a regional context for these observations and assist in their interpretation. These MOZART-4 simulations reproduce the aircraft observations generally well, but some differences in the modeled volatile organic compounds (VOCs) from the observations result from incorrect VOC speciation assumed for the emission inventories. The different types of CO sources represented in the model have been "tagged" to quantify the contributions of regions outside Mexico, as well as the various emissions sectors within Mexico, to the regional air quality of Mexico. This analysis indicates open fires have some, but not a dominant, impact on the atmospheric composition in the region around Mexico City when averaged over the month. However, considerable variation in the fire contribution (2–15% of total CO) is seen during the month. The transport and photochemical aging of Mexico City emissions were studied using tags of CO emissions for each day, showing that typically the air downwind of Mexico City was a combination of many ages. Ozone production in MOZART-4 is shown to agree well with the net production rates from box model calculations constrained by the MILAGRO aircraft measurements. Ozone production efficiency derived from the ratio of Ox to NOz is higher in MOZART-4 than in the observations for moderately polluted air. OH reactivity determined from the MOZART-4 results shows the same increase in relative importance of oxygenated VOCs downwind of Mexico City as the reactivity inferred from the observations. The amount of ozone produced by emissions from Mexico City and surrounding areas has been quantified in the model by tracking NO emissions, showing little influence beyond Mexico's borders, and also relatively minor influence from fire emissions on the monthly average tropospheric ozone column.
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Morgan, Frances, and James Mooney. "‘The Same Trade as Mozart’: Convincing the sceptics of electronic music’s value." Journal of Popular Television 9, no. 1 (March 1, 2021): 55–77. http://dx.doi.org/10.1386/jptv_00041_1.
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In August 1969, the music documentary series Workshop (1964–78) focused on electronic music in a 55-minute-long film titled ‘The Same Trade as Mozart’. Produced and directed by David Buckton, the film included interviews with composers Karlheinz Stockhausen, Tristram Cary and Justin Connolly; BBC Radiophonic Workshop staff Desmond Briscoe, David Cain and John Baker, and the Workshop’s founder, Daphne Oram; and Peter Zinovieff, director of EMS (Electronic Music Studios). It presented electronic music in a number of contexts, such as education, pop production and live performance. Technological change in music has often provoked hostility among the public and critics, and the rapid advancement of electronic music post-Second World War was no exception. Adopting a mode of analysis more commonly encountered in studies of the public communication of science, this article considers ‘The Same Trade as Mozart’ as an attempt by electronic music’s advocates, such as those listed above, to convince sceptics of its value. While sceptical responses to the presence of new technologies in music have been widely noted and theorized by scholars in science and technology studies, we call attention to the strategies employed by the advocates of such technologies to defend themselves against such criticisms, including humour, heuristic explanations and a focus on electronic music’s educational and thus social value. The use of computers in electronic music was a new and contentious development in the field, requiring a greater degree of advocacy from its proponents. We examine how the computer’s role in composition is presented in ‘The Same Trade as Mozart’, compared with other media portrayals of computing in the 1960s. Drawing on theories of filmed musical performance, we discuss how visual tropes of ‘classical’ music are used in ‘The Same Trade as Mozart’ to challenge preconceptions about the relationships between composers, musicians and new technologies.
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Roth, Edward A., and Kenneth H. Smith. "The Mozart Effect: Evidence for the Arousal Hypothesis." Perceptual and Motor Skills 107, no. 2 (October 2008): 396–402. http://dx.doi.org/10.2466/pms.107.2.396-402.
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This study investigated the effect of music listening for performance on a 25-question portion of the analytical section of the Graduate Record Exam by 72 undergraduate students ( M age 21.9 yr.). Five levels of an auditor condition were based on Mozart Piano Sonata No. 3 (K. 281), Movement I (Allegro); a rhythm excerpt; a melody excerpt; traffic sounds; and silence. Participants were randomly assigned to one of the stimuli. After a 5-min., 43-sec. (length of the first Allegro movement) listening period, participants answered the questions. Analysis indicated participants achieved significantly higher mean scores after all auditory conditions than those in the silent condition. No statistically significant pairwise mean difference appeared between scores for the auditory conditions. Findings were interpreted in terms of an arousal framework, suggesting the higher means in all auditory conditions may reflect immediate exposure to auditory stimuli.
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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.
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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.
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Killam, Rosemary N., Philip C. Baczewski, and Bert Hayslip. "A Model of Performing Musicians' Melodic Perception through Transcription of Two-Voice Contrapuntal Music." Musicae Scientiae 7, no. 2 (September 2003): 263–91. http://dx.doi.org/10.1177/102986490300700204.
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This article reports findings from two experiments examining strategies utilized by professional musicians who transcribed a Mozart duet, wherein we explored the possibility that their cognitive processes would be revealed through their transcription strategies on multiple sequential presentations of the same stimulus. We hypothesized that transcription accuracy would be influenced by four factors: Scale degrees, conjunct/disjunct melodic motion, vertical consonance/dissonance, and melody position. In Experiment 1, we reduced the foreground of Mozart's 1783 B-flat Major Duo for Violin and Viola, and used three taped repetitions of the reduction as the experimental stimulus. Participants transcribed the music as the tape played, adding to their transcription during an additional three minutes following each presentation on forms permitting them to see their previous transcriptions, but precluding change of their previous work. Experiment 2 inverted the melodic lines of the stimulus. Our results examined pitch accuracy as the unit of analysis, on each note of the multiple stimuli presentations. Data analysis confirmed the influence of scale degrees, melodic motion and melodic relationship on perceptual accuracy, but showed no influence of vertical consonance/dissonance.
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Lefever, K., R. van der A, F. Baier, Y. Christophe, Q. Errera, H. Eskes, J. Flemming, et al. "Copernicus atmospheric service for stratospheric ozone: validation and intercomparison of four near real-time analyses, 2009–2012." Atmospheric Chemistry and Physics Discussions 14, no. 8 (May 15, 2014): 12461–523. http://dx.doi.org/10.5194/acpd-14-12461-2014.
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Abstract. This paper evaluates the performance of the stratospheric ozone analyses delivered in near real time by the MACC (Monitoring Atmospheric Composition and Climate) project during the 3 year period between September 2009 and September 2012. Ozone analyses produced by four different chemistry transport models and data assimilation techniques are examined: the ECMWF Integrated Forecast System (IFS) coupled to MOZART-3 (IFS-MOZART), the BIRA-IASB Belgian Assimilation System for Chemical ObsErvations (BASCOE), the DLR/RIU Synoptic Analysis of Chemical Constituents by Advanced Data Assimilation (SACADA), and the KNMI Data Assimilation Model based on Transport Model version 3 (TM3DAM). The assimilated satellite ozone retrievals differed for each system: SACADA and TM3DAM assimilated only total ozone observations, BASCOE assimilated profiles for ozone and some related species, while IFS-MOZART assimilated both types of ozone observations. The stratospheric ozone analyses are compared to independent ozone observations from ground-based instruments, ozone sondes and the ACE-FTS (Atmospheric Chemistry Experiment – Fourier Transform Spectrometer) satellite instrument. All analyses show total column values which are generally in good agreement with groundbased observations (biases <5%) and a realistic seasonal cycle. The only exceptions are found for BASCOE which systematically underestimates total ozone in the Tropics with about 7–10% at Chengkung (Taiwan, 23.1° N/121.365° E), resulting from the fact that BASCOE does not include any tropospheric processes, and for SACADA which overestimates total ozone in the absence of UV observations for the assimilation. Due to the large weight given to column observations in the assimilation procedure, IFS-MOZART is able to reproduce total column observations very well, but alternating positive and negative biases compared to ozonesonde and ACE-FTS satellite data are found in the vertical as well as an overestimation of 30 to 60% in the polar lower stratosphere during ozone depletion events. The assimilation of near real-time (NRT) Microwave Limb Sounder (MLS) profiles which only go down to 68 hPa is not able to correct for the deficiency of the underlying MOZART model, which may be related to the applied meteorological fields. Biases of BASCOE compared to ozonesonde or ACE-FTS ozone profiles do not exceed 10% over the entire vertical stratospheric range, thanks to the good performance of the model in ozone hole conditions and the assimilation of offline MLS profiles going down to 215 hPa. TM3DAM provides very realistic total ozone columns, but is not designed to provide information on the vertical distribution of ozone. Compared to ozonesondes and ACE-FTS satellite data, SACADA performs best in the Arctic, but shows large biases (>50%) for ozone in the lower stratosphere in the Tropics and in the Antarctic, especially during ozone hole conditions. This study shows that ozone analyses with realistic total ozone column densities do not necessarily yield good agreement with the observed ozone profiles. It also shows the large benefit obtained from the assimilation of a single limb-scanning instrument (Aura MLS) with a high density of observations. Hence even state-of-the-art models of stratospheric chemistry still require the assimilation of limb observations for a correct representation of the vertical distribution of ozone in the stratosphere.
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Lerdahl, Fred. "Calculating Tonal Tension." Music Perception 13, no. 3 (1996): 319–63. http://dx.doi.org/10.2307/40286174.
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The prolongational component in A Generative Theory of Tonal Music assigns tensing and relaxing patterns to tonal sequences but does not adequately describe degrees of harmonic and melodic tension. This paper offers solutions to the problem, first by adapting the distance algorithm from the theory of tonal pitch space for the purpose of quantifying sequential and hierarchical harmonic tension. The method is illustrated for the beginning of the Mozart Sonata, K. 282, with emphasis on the hierarchical approach. The paper then turns to melodic tension in the context of the anchoring of dissonance. Interrelated attraction algorithms are proposed that incorporate the factors of stability, proximity, and directed motion. A distinction is developed between the tension of distance and the tension of attraction. The attraction and distance algorithms are combined in a view of harmony as voice leading, leading to a second analysis of the opening phrase of the Mozart in terms of voiceleading motion. Connections with recent theoretical and psychological work are discussed.
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Carstens, Christian B., Eugenia Huskins, and Gail W. Hounshell. "Listening to Mozart May Not Enhance Performance on the Revised Minnesota Paper Form Board Test." Psychological Reports 77, no. 1 (August 1995): 111–14. http://dx.doi.org/10.2466/pr0.1995.77.1.111.
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Rauscher, Shaw, and Ky in 1993 found that listening to a Mozart sonata temporarily enhanced performance on the spatial reasoning task from the Stanford-Binet scale. The present study was designed to replicate those results using the Revised Minnesota Paper Form Board Test. 30 women and 21 men were randomly assigned to one of two conditions. In one condition, subjects listened to a Mozart sonata for 10 min., while in the control condition subjects meditated in silence for 10 min. Immediately following these manipulations all subjects worked on the spatial task, the Revised Minnesota Paper Form Board Test, for 10 minutes. After factoring out SAT scores and gender, there was no significant difference in the mean test scores for the two groups. The results are discussed in terms of Gustafsson's 1984 factor analysis of intellectual abilities in which he identified three separate visuospatial factors. The task used here may have had a substantially different factor loading than the dependent variable used by Rauscher and associates.
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Lefever, K., R. van der A, F. Baier, Y. Christophe, Q. Errera, H. Eskes, J. Flemming, et al. "Copernicus stratospheric ozone service, 2009–2012: validation, system intercomparison and roles of input data sets." Atmospheric Chemistry and Physics 15, no. 5 (March 3, 2015): 2269–93. http://dx.doi.org/10.5194/acp-15-2269-2015.
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Abstract. This paper evaluates and discusses the quality of the stratospheric ozone analyses delivered in near real time by the MACC (Monitoring Atmospheric Composition and Climate) project during the 3-year period between September 2009 and September 2012. Ozone analyses produced by four different chemical data assimilation (CDA) systems are examined and compared: the Integrated Forecast System coupled to the Model for OZone And Related chemical Tracers (IFS-MOZART); the Belgian Assimilation System for Chemical ObsErvations (BASCOE); the Synoptic Analysis of Chemical Constituents by Advanced Data Assimilation (SACADA); and the Data Assimilation Model based on Transport Model version 3 (TM3DAM). The assimilated satellite ozone retrievals differed for each system; SACADA and TM3DAM assimilated only total ozone observations, BASCOE assimilated profiles for ozone and some related species, while IFS-MOZART assimilated both types of ozone observations. All analyses deliver total column values that agree well with ground-based observations (biases < 5%) and have a realistic seasonal cycle, except for BASCOE analyses, which underestimate total ozone in the tropics all year long by 7 to 10%, and SACADA analyses, which overestimate total ozone in polar night regions by up to 30%. The validation of the vertical distribution is based on independent observations from ozonesondes and the ACE-FTS (Atmospheric Chemistry Experiment – Fourier Transform Spectrometer) satellite instrument. It cannot be performed with TM3DAM, which is designed only to deliver analyses of total ozone columns. Vertically alternating positive and negative biases are found in the IFS-MOZART analyses as well as an overestimation of 30 to 60% in the polar lower stratosphere during polar ozone depletion events. SACADA underestimates lower stratospheric ozone by up to 50% during these events above the South Pole and overestimates it by approximately the same amount in the tropics. The three-dimensional (3-D) analyses delivered by BASCOE are found to have the best quality among the three systems resolving the vertical dimension, with biases not exceeding 10% all year long, at all stratospheric levels and in all latitude bands, except in the tropical lowermost stratosphere. The northern spring 2011 period is studied in more detail to evaluate the ability of the analyses to represent the exceptional ozone depletion event, which happened above the Arctic in March 2011. Offline sensitivity tests are performed during this month and indicate that the differences between the forward models or the assimilation algorithms are much less important than the characteristics of the assimilated data sets. They also show that IFS-MOZART is able to deliver realistic analyses of ozone both in the troposphere and in the stratosphere, but this requires the assimilation of observations from nadir-looking instruments as well as the assimilation of profiles, which are well resolved vertically and extend into the lowermost stratosphere.
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Wespes, C., L. Emmons, D. P. Edwards, J. Hannigan, D. Hurtmans, M. Saunois, P. F. Coheur, et al. "Analysis of ozone and nitric acid in spring and summer Arctic pollution using aircraft, ground-based, satellite observations and MOZART-4 model: source attribution and partitioning." Atmospheric Chemistry and Physics Discussions 11, no. 8 (August 22, 2011): 23707–60. http://dx.doi.org/10.5194/acpd-11-23707-2011.
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Abstract. In this paper, we analyze tropospheric O3 together with HNO3 during the POLARCAT (Polar Study using Aircraft, Remote Sensing, Surface Measurements and Models, of Climate, Chemistry, Aerosols, and Transport) program, combining observations and model results. Aircraft observations from the NASA ARCTAS (Arctic Research of the Composition of the Troposphere from Aircraft and Satellites) and NOAA ARCPAC (Aerosol, Radiation and Cloud Processes affecting Arctic Climate) campaigns during spring and summer of 2008 are used together with the Model for Ozone and Related Chemical Tracers, version 4 (MOZART-4) to assist in the interpretation of the observations in terms of the source attribution and transport of O3 and HNO3 into the Arctic. The MOZART-4 simulations reproduce the aircraft observations generally well (within 15 %), but some discrepancies in the model are identified and discussed. The observed correlation of O3 with HNO3 is exploited to evaluate the MOZART-4 model performance for different air mass types (fresh plumes, free troposphere and stratospheric-contaminated air masses). Based on model simulations of O3 and HNO3 tagged by source type and region, we find that the anthropogenic pollution from the Northern Hemisphere is the dominant source of O3 and HNO3 in the Arctic at pressure greater than 400 hPa, and that the stratospheric influence is the principal contribution at pressures less 400 hPa. During the summer, intense Russian fire emissions contribute some amount to the tropospheric columns of both gases over the American sector of the Arctic. North American fire emissions (California and Canada) also show an important impact on tropospheric ozone in the Arctic boundary layer. Additional analysis of tropospheric O3 measurements from ground-based FTIR and from the IASI satellite sounder made at the Eureka (Canada) and Thule (Greenland) polar sites during POLARCAT has been performed using the tagged contributions. It demonstrates the capability of these instruments for observing pollution at Northern high latitudes. Differences between contributions from the sources to the tropospheric columns as measured by FTIR and IASI are discussed in terms of vertical sensitivity associated with these instruments. The first analysis of O3 tropospheric columns observed by the IASI satellite instrument over the Arctic is also provided. Despite its limited vertical sensitivity in the lowermost atmospheric layers, we demonstrate that IASI is capable of detecting low-altitude pollution transported into the Arctic with some limitations.
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Wespes, C., L. Emmons, D. P. Edwards, J. Hannigan, D. Hurtmans, M. Saunois, P. F. Coheur, et al. "Analysis of ozone and nitric acid in spring and summer Arctic pollution using aircraft, ground-based, satellite observations and MOZART-4 model: source attribution and partitioning." Atmospheric Chemistry and Physics 12, no. 1 (January 4, 2012): 237–59. http://dx.doi.org/10.5194/acp-12-237-2012.
Full textAbstract:
Abstract. In this paper, we analyze tropospheric O3 together with HNO3 during the POLARCAT (Polar Study using Aircraft, Remote Sensing, Surface Measurements and Models, of Climate, Chemistry, Aerosols, and Transport) program, combining observations and model results. Aircraft observations from the NASA ARCTAS (Arctic Research of the Composition of the Troposphere from Aircraft and Satellites) and NOAA ARCPAC (Aerosol, Radiation and Cloud Processes affecting Arctic Climate) campaigns during spring and summer of 2008 are used together with the Model for Ozone and Related Chemical Tracers, version 4 (MOZART-4) to assist in the interpretation of the observations in terms of the source attribution and transport of O3 and HNO3 into the Arctic (north of 60° N). The MOZART-4 simulations reproduce the aircraft observations generally well (within 15%), but some discrepancies in the model are identified and discussed. The observed correlation of O3 with HNO3 is exploited to evaluate the MOZART-4 model performance for different air mass types (fresh plumes, free troposphere and stratospheric-contaminated air masses). Based on model simulations of O3 and HNO3 tagged by source type and region, we find that the anthropogenic pollution from the Northern Hemisphere is the dominant source of O3 and HNO3 in the Arctic at pressures greater than 400 hPa, and that the stratospheric influence is the principal contribution at pressures less 400 hPa. During the summer, intense Russian fire emissions contribute some amount to the tropospheric columns of both gases over the American sector of the Arctic. North American fire emissions (California and Canada) also show an important impact on tropospheric ozone in the Arctic boundary layer. Additional analysis of tropospheric O3 measurements from ground-based FTIR and from the IASI satellite sounder made at the Eureka (Canada) and Thule (Greenland) polar sites during POLARCAT has been performed using the tagged contributions. It demonstrates the capability of these instruments for observing pollution at northern high latitudes. Differences between contributions from the sources to the tropospheric columns as measured by FTIR and IASI are discussed in terms of vertical sensitivity associated with these instruments. The first analysis of O3 tropospheric columns observed by the IASI satellite instrument over the Arctic is also provided. Despite its limited vertical sensitivity in the lowermost atmospheric layers, we demonstrate that IASI is capable of detecting low-altitude pollution transported into the Arctic with some limitations.
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Hogrefe, C., W. Hao, E. E. Zalewsky, J. Y. Ku, B. Lynn, C. Rosenzweig, M. G. Schultz, et al. "An analysis of long-term regional-scale ozone simulations over the Northeastern United States: variability and trends." Atmospheric Chemistry and Physics Discussions 10, no. 10 (October 6, 2010): 23045–90. http://dx.doi.org/10.5194/acpd-10-23045-2010.
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Abstract. This study presents the results from two sets of 18-year air quality simulations over the Northeastern US performed with a regional photochemical modeling system. These two simulations utilize different sets of lateral boundary conditions, one corresponding to a time-invariant climatological vertical profile and the other derived from monthly mean concentrations extracted from archived ECHAM5-MOZART global simulations. The objective is to provide illustrative examples of how model performance in several key aspects – trends, intra- and interannual variability of ground-level ozone, and ozone/precursor relationships – can be evaluated against available observations, and to identify key inputs and processes that need to be considered when performing and improving such long-term simulations. To this end, several methods for comparing observed and simulated trends and variability of ground level ozone concentrations, ozone precursors and ozone/precursor relationships are introduced. The application of these methods to the simulation using time-invariant boundary conditions reveals that the observed downward trend in the upper percentiles of summertime ozone concentrations is captured by the model in both directionality and magnitude. However, for lower percentiles there is a marked disagreement between observed and simulated trends. In terms of variability, the simulations using the time-invariant boundary conditions simulations underestimate observed inter-annual variability by 30–50% depending on the percentiles of the distribution. In contrast, the use of boundary conditions from the ECHAM5-MOZART simulations improves the representation of interannual variability. However, biases in the global simulations have the potential to significantly affect ozone simulations throughout the modeling domain, both at the surface and aloft. The comparison of both simulations highlights the significant impact lateral boundary conditions can have on a regional air quality model's ability to simulate long-term ozone variability and trends, especially for the lower percentiles of the ozone distribution.
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Hogrefe, C., W. Hao, E. E. Zalewsky, J. Y. Ku, B. Lynn, C. Rosenzweig, M. G. Schultz, et al. "An analysis of long-term regional-scale ozone simulations over the Northeastern United States: variability and trends." Atmospheric Chemistry and Physics 11, no. 2 (January 20, 2011): 567–82. http://dx.doi.org/10.5194/acp-11-567-2011.
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Abstract. This study presents the results from two sets of 18-year air quality simulations over the Northeastern US performed with a regional photochemical modeling system. These two simulations utilize different sets of lateral boundary conditions, one corresponding to a time-invariant climatological vertical profile and the other derived from monthly mean concentrations extracted from archived ECHAM5-MOZART global simulations. The objective is to provide illustrative examples of how model performance in several key aspects – trends, intra- and interannual variability of ground-level ozone, and ozone/precursor relationships – can be evaluated against available observations, and to identify key inputs and processes that need to be considered when performing and improving such long-term simulations. To this end, several methods for comparing observed and simulated trends and variability of ground level ozone concentrations, ozone precursors and ozone/precursor relationships are introduced. The application of these methods to the simulation using time-invariant boundary conditions reveals that the observed downward trend in the upper percentiles of summertime ozone concentrations is captured by the model in both directionality and magnitude. However, for lower percentiles there is a marked disagreement between observed and simulated trends. In terms of variability, the simulations using the time-invariant boundary conditions underestimate observed inter-annual variability by 30%–50% depending on the percentiles of the distribution. The use of boundary conditions from the ECHAM5-MOZART simulations improves the representation of interannual variability but has an adverse impact on the simulated ozone trends. Moreover, biases in the global simulations have the potential to significantly affect ozone simulations throughout the modeling domain, both at the surface and aloft. The comparison of both simulations highlights the significant impact lateral boundary conditions can have on a regional air quality model's ability to simulate long-term ozone variability and trends, especially for the lower percentiles of the ozone distribution.
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LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (August 3, 2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.
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ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.
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Lin, Steven C., Brandon Ang, Carolyn Hernandez, Ricki Bettencourt, Rashmi Jain, Joanie Salotti, Lisa Richards, et al. "Cardiovascular risk assessment in the treatment of nonalcoholic steatohepatitis: a secondary analysis of the MOZART trial." Therapeutic Advances in Gastroenterology 9, no. 2 (December 31, 2015): 152–61. http://dx.doi.org/10.1177/1756283x15621232.
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Drori, R., U. Dayan, D. P. Edwards, L. K. Emmons, and C. Erlick. "Attributing and quantifying carbon monoxide sources affecting the Eastern Mediterranean: a combined satellite, modelling, and synoptic analysis study." Atmospheric Chemistry and Physics 12, no. 2 (January 25, 2012): 1067–82. http://dx.doi.org/10.5194/acp-12-1067-2012.
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Abstract. Pollutants from global sources are known to affect the Eastern Mediterranean Shore (EMS). However, there has been no previous study explicitly locating the European sources, characterizing their transport pathways, and quantifying their contribution to local concentrations in the EMS. In the current study, spatially tagged carbon monoxide was used as a tracer for pollutant transport from Europe to the EMS over five consecutive years (2003–2007) using the global chemical transport model MOZART-4. The model results were compared against NOAA/GMD ground station data and remotely sensed data from the Terra/MOPITT satellite and found to agree well on monthly basis but do not agree on daily basis. On synoptic scale, there is agreement between MOZART and GMD during July to August. A budget analysis reveals the role of CO from hydrocarbon oxidation on CO concentration during summer. European anthropogenic emissions were found to significantly influence EM surface concentrations, while European biomass burning (BB) emissions were found to have only a small impact on EM surface concentrations. Over the five simulated years, only two European biomass burning episodes contributed more than 10 ppb to surface CO concentrations in the EM. CO enhancement in the EM during the summer was attributed to synoptic conditions prone to favorable transport from Turkey and Eastern Europe towards the EM rather than increased emissions. We attribute the apparently misleading association between CO emitted from European BB and CO enhancements over the EM to typical summer synoptic conditions caused by the lingering of an anticyclone positioned over the Western and Central Mediterranean Basin that lead to forest fires in the area. Combined with a barometric trough over the eastern part of the Mediterranean Basin, this generates a prevailing transport of air masses from Eastern Europe to the EMS. Synoptic scale variations are shown to change the transport pathways from Europe towards the EMS having an overall small affect. CO concentration over the EMS can be describe as having 3 components: the seasonal cycle, the cycle of CO produced from hydrocarbon oxidation and a synoptic variation.
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De Luca, Modesto, Raffaele Campo, and Rosalind Lee. "Mozart or pop music? Effects of background music on wine consumers." International Journal of Wine Business Research 31, no. 3 (August 19, 2019): 406–18. http://dx.doi.org/10.1108/ijwbr-01-2018-0001.
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Purpose A considerable body of literature has shown how the perception of flavor is the result of a multi-sensory combination. Starting with this premise, this paper aims to verify how music impacts on wine flavor. Design/methodology/approach An experiment was organized as follows: it focuses on the influence of music on the taste of red and white wine, in particular, two kinds of music were transmitted, namely, classical and pop. Participants had to listen to music through headphones tasting, in the meanwhile, 40 mL of wine (an merlot and a chardonnay). After this experience, they had to give an evaluation about some attributes of the wine. The attributes to be evaluated were: sparkling, refreshing, delicate, refined, sweet, sour, alcoholic and pleasant. Data were finally analyzed by using the ANOVA model. Findings They highlight that a chardonnay is perceived to be more delicate and sweeter if accompanied by a classical music background; in the case of Merlot, on the other hand, it is perceived as less alcohol when high-volume pop music is transmitted. Implications are finally discussed. Originality/value The influence of hearing on taste is underestimated in the literature. The originality of this manuscript consists of comparing two different music genders and their impact on wine consumers in an Italian context. Moreover, the analysis of marketing implications represents a novelty for these kind of studies.
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Tanner, Michael. "Metaphysics and Music." Royal Institute of Philosophy Supplement 33 (September 1992): 181–200. http://dx.doi.org/10.1017/s1358246100002344.
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In a once-famous article, ‘The Elimination of Metaphysics through the Logical Analysis of Language’, first published in 1932, Rudolf Carnap (1959) wrote:The harmonious feeling or attitude, which the metaphysician tries to express in a monistic system, is more clearly expressed in the music of Mozart. And when a metaphysician gives verbal expression to his dualistic-heroic attitude towards life in a dualistic system, is it not perhaps because he lacks the ability of a Beethoven to express this attitude in an adequate medium? Metaphysicians are musicians without musical ability.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling II: Sensitivity to overall structure in a Haydn E-minor sonata." Musicae Scientiae 16, no. 1 (November 23, 2011): 67–80. http://dx.doi.org/10.1177/1029864911423146.
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Previous studies have suggested that listeners are insensitive to the overall tonal structure of musical pieces. In Part I of this report ( Granot & Jacoby, 2011 ) we reexamined this question by means of a puzzle task using 10 segments of Mozart’s B flat major piano sonata K. 570/I. As expected, subjects had difficulty in recreating the original piece. However, their answers revealed some interesting patterns, including (1) Some sensitivity to the overall structure of A–B–A’ around the non-stable B section; (2) Non-trivial sensitivity to overall “directionality” as shown by a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; and (4) Sensitivity to opening and closing gestures, thematic similarity, and surface cues. In the current paper we further validate these findings by comparing the results obtained from a new group of participants who performed an 8-segment puzzle task of Haydn’s E minor piano sonata Hob. VXI-34/I. The similarity of our results to those obtained with the Mozart sonata validates our methods and points to the robustness of our findings, despite the differences in the music contexts (composer and key), and despite some methodological caveats.
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Villanueva, Isabel, and Ivan Lacasa-Mas. "The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart." Communication & Society 34, no. 1 (January 12, 2021): 77–91. http://dx.doi.org/10.15581/003.34.1.77-91.
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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.
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Verba, Natalia I. "“Das Donauweibchen”, “Dneprovskaya Rusalka” and “The Magic Flute”: the Facets of Intertextual and Archetypal." Observatory of Culture, no. 5 (October 28, 2015): 38–44. http://dx.doi.org/10.25281/2072-3156-2015-0-5-38-44.
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The article is devoted to consideration of the ways of musical realization of the archetypal images in the operas “Das Donauweibchen”, “Dneprovskaya Rusalka” and “The Magic Flute”. The analysis lays an emphasis on the following aspects: the dramaturgy, orchestration, general compositional principles, ideological and semantic constants of the operas, their intonation sphere, and peculiarities of the characters’ musical and verbal portraits. The comparison of the main heroes’ characteristics in the operas by F. Kauer, S. I. Davydov and W. A. Mozart allows to draw a conclusion that the developed intertextual connections between these works are caused by the studied images’ archetypicalness.
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Granot, Roni Y., and Nori Jacoby. "Musically puzzling I: Sensitivity to overall structure in the sonata form?" Musicae Scientiae 15, no. 3 (July 6, 2011): 365–86. http://dx.doi.org/10.1177/1029864911409508.
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Previous studies have suggested that listeners are not sensitive to the overall tonal structure of musical pieces. This assumption is reexamined in the current study in an active musical puzzle task, with no time constraints, focusing on the presumably most directional musical form – the sonata form. In our first study (reported here, and referred to as “the Mozart study”), participants with varying levels of musical training were presented with disordered sections of Mozart’s piano sonata K. 570/I in B flat major and asked to rearrange the ten sections into a musically logical coherent whole. A second study (to be reported in Musicae Scientiae issue 16[1]) replicated the task in a different group of participants who listened to Haydn’s piano sonata, Hob: XVI-34/I in E minor. In contrast with previous studies, we do not focus on listeners’ ability to recover the original sonatas. Rather, we explore emergent patterns in their responses using new types of analysis. Our results indicate that listeners show: (1) Some sensitivity to the overall structure of A-B-A’ around the non-stable B section; (2) Non- trivial sensitivity to overall “directionality” through a new type of analysis (“distance score”); (3) Correct grouping and placement of developmental sections possibly related to listener’s sensitivity to musical tension; (4) Sensitivity to opening and closing gestures, thematic similarity and surface cues and; (5) No sensitivity to global harmonic structure.
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Ruggieri, Vezio, and Alexander Katsnelson. "An Analysis of a Performance by the Violinist D. Oistrakh: The Hypothetical Role of Postural Tonic-Static and Entourage Movements." Perceptual and Motor Skills 82, no. 1 (February 1996): 291–300. http://dx.doi.org/10.2466/pms.1996.82.1.291.
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In an interdisciplinary research project carried out by a violinist and a psychophysiologist which is based on a videotape of a performance by the violinist, David Oistrakh, we draw attention to certain postural attitudes and movements which appear in sequences of his rendition of the Brandenburg Concerto N. 4 by Bach and the Concerto for Violin in D Major by Mozart. These postural attitudes and movements occur with a certain regularity and are particular to each piece of music. For example, in the Brandenburg Concerto, one can observe rhythmic oscillations of the musician's whole body, with a shifting of the weight (alternanza di appoggio) from the left to the right foot. The performer's movements were compared with corresponding points of the musical score. Within this analytical framework, we hypothesize that these movements have not only a mechanical postural role but an expressive aesthetic one.
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LIMA, AMANDA PEREIRA, FELIPE JOSÉ VIEIRA, GABRIELA PROCÓPIO DE MORAES OLIVEIRA, PLÍNIO DOS SANTOS RAMOS, MARIELLE ELISA AVELINO, FELIPE GARCIA PRADO, GILSON SALOMÃO JÚNIOR, FRANCISCO CAMPOS SILVA, and JOÃO VICENTE LINHARES RODRIGUES. "Clinical-epidemiological profile of acute appendicitis: retrospective analysis of 638 cases." Revista do Colégio Brasileiro de Cirurgiões 43, no. 4 (August 2016): 248–53. http://dx.doi.org/10.1590/0100-69912016004009.
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ABSTRACT Objective: to describe the clinical and epidemiological profile of acute appendicitis (AA) of the patients treated at a referral center in the Juiz de Fora macro-region, Minas Gerais State, Brazil. Methods: we conducted a retrospective, observational study in the Dr. Mozart Geraldo TeixeiraEmergency Hospital. We selected 638 patients diagnosed with AA, and analyzed the variables gender, age, evolutionary phase, length of hospital stay, pathological diagnosis, use of antibiotics, use of drains, complications and mortality. Results: AA was more prevalent in young adults (19-44 years) and males (65.20%). The mean hospital stay was seven days and phase II was the most prevalent. We found the histopathological diagnosis of primary tumor of the appendix in six patients (0.94%), adenocarcinoma being the most common histologic type (66.7%). Regarding the use of antibiotics, 196 patients underwent antibiotic prophylaxis and 306 received antibiotic therapy. Eighty-one patients used some kind of drain, for an average of 4.8 days. Seventeen patients died (2.67%), predominantly males (70.59%), with mean age of 38.47 years. Conclusion: AA has a higher prevalence in males and young adults. The length of stay is directly associated with the evolutionary phase. The most common complication is infection of the surgical site. Mortality in our service is still high when compared with developed centers.
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Lin, M., T. Holloway, G. R. Carmichael, and A. M. Fiore. "Quantifying pollution inflow and outflow over East Asia through coupling regional and global models." Atmospheric Chemistry and Physics Discussions 10, no. 1 (January 5, 2010): 109–52. http://dx.doi.org/10.5194/acpd-10-109-2010.
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Abstract. Understanding the exchange processes between the atmospheric boundary layer and the free troposphere is crucial for estimating hemispheric transport of air pollution. Most studies of hemispheric air pollution transport have taken a large-scale perspective: using global chemical transport models and focusing on synoptic-scale export events. These global models have fairly coarse spatial and temporal resolutions, and thus have a limited ability to represent boundary layer processes and urban photochemistry. In support of United Nations Task Force on Hemispheric Transport of Air Pollution (TF HTAP; http://www.htap.org), this study employs two high-resolution atmospheric chemistry models (WRF-Chem and CMAQ; 36×36 km) coupled with a global model (MOZART; 1.9×1.9°) to examine the importance of fine-scale transport and chemistry processes in controlling pollution export and import over the Asian continent. We find that the vertical lifting and outflow of Asian pollution is enhanced in the regional models throughout the study period (March 2001) as contrast to the global model. Episodic outflow of CO, PAN, and O3 to the upper troposphere during cold frontal passages is twice as great in the WRF-Chem model as compared with the MOZART model. The TRACE-P aircraft measurements indicate that the pollution plumes in MOZART are too weak and too low in the altitude, which we attribute to the global model's inability to capture rapid deep convection that develops along the leading edge of the convergence band during frontal events. In contrast to pollution export from Asia, we find little difference in the regional vs. global model transport of European (EU) pollution into surface air over East Asia (EA). Instead, the local surface characteristics – sensitivity – strongly influence surface O3 responses. For instance, the O3 response to 20% decreases in EU emissions imported into our regional model domain is strongest (0.4–0.6 ppbv) over mountainous regions and weakest (0.1–0.3 ppbv) in megacities. The spatial averaged O3 response over EA estimated by our regional models is ~0.1 ppbv lower than global model estimates. Our results suggest that global models tend to underestimate the total budget of Asian pollutants exported to the free troposphere given their limited ability to properly capture vertical convection and lifting. Due to the compensating effects on surface O3 responses over downwind continents, future high-resolution hemispheric model analysis should provide additional insights into how the export and import processes interact, and will help to narrow the uncertainty of intercontinental source-receptor relationships.
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Lin, Steven C., Brandon Ang, Carolyn Hernandez, Ricki Bettencourt, Rashmi Jain, Joanie Salotti, Lisa Richards, et al. "464 Novel Cardiovascular Risk Assessment in the Treatment of Nonalcoholic Steatohepatitis: Secondary Analysis of the MOZART Randomized Clinical Trial." Gastroenterology 148, no. 4 (April 2015): S—982. http://dx.doi.org/10.1016/s0016-5085(15)33356-4.
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Jaušovec, Norbert, and Katarina Habe. "The “Mozart Effect”: An Electroencephalographic Analysis Employing the Methods of Induced Event-Related Desynchronization/Synchronization and Event-Related Coherence." Brain Topography 16, no. 2 (2003): 73–84. http://dx.doi.org/10.1023/b:brat.0000006331.10425.4b.
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BALMER, YVES, THOMAS LACÔTE, and CHRISTOPHER BRENT MURRAY. "Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet." Twentieth-Century Music 13, no. 2 (July 26, 2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.
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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operatic characters hidden behind the programme of one of Messiaen's best-known works. These intersecting source materials in Messiaen's teaching and composition open new roads for the analysis of the composer's music and pedagogy.
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Kogler, Susanne. "Adorno as Critics – Mozart, Wagner and Strauss in the Light of the Aesthetic Theory." Musicological Annual 41, no. 1 (December 1, 2005): 45–57. http://dx.doi.org/10.4312/mz.41.1.45-57.
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There is no doubt, that Adomo's critical monographs and essays on Wagner and Strauss, as well as the text on Sibelius, number among the most controversially discussed parts of his oeuvre. One important reason for this controversial reception is the fact that these writings combine philosophical and musical views. As far as the musicologists are concerned, the texts lack a detailed analytical perspective; from the philosophical point of view on the other hand, the deliberations are too much dominated by musical phenomena. This text, which was written for a lecture held at the Musicology Department of the University of Ljubljana in April 2005, aims at placing Adorno's music criticism in the context of his critical aesthetics and in his musical philosophy respectively, which he summed up in his Aesthetic Theory. By doing so the most important criteria, which refer directly to the critical perspective of his thought concerning language and culture in general, shall be focused upon. The article consists of four parts: The first part will focus on Adorno's ideas on 20th century art in general, for these theoretical thoughts constitute the basis of his thoughts on music and musicians. In the second part, Adorno's demands of musical criticism are placed in the centre of interest. The third part discusses Adorno's critique of Wagner by comparing it to his views on Mozart. The fourth and last part provides a detailed analysis of Adorno's two essays on Richard Strauss. Beside Adorno's Aesthetic Theory his writings on music criticism, in particular the paper held in 1967 at the Institute for Musical Criticism and Aesthetical Research of the former Music Academy in Graz entitled »Reflections on musical criticism«, his Essay on Wagner and his two papers on Richard Strauss written in 1924 and 1964 serve as textual basis for the following consideration.