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Мицкевич, М. С., and Т. В. Швец. "Blessed Basils Fourmode-Chant “Vostrubim Truboyu Pesney” in the Sacred Space of Moscow Cathedrals of the Late 16th — Early 17th Centuries." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 144–75. http://dx.doi.org/10.26156/om.2023.15.2.007.
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Статья посвящена исследованию и публикации четверогласника из службы Василию Блаженному. Четверогласник — песнопение, разделенное на четыре части, каждая из которых роспета в одном из гласов. Известны несколько песнопений-четверогласников с инципитом «Вострубим трубою песней». Их основной репертуар был выявлен на материале Стихираря «Дьячье Око» из собрания Д. В. Разумовского. Все песнопения выписаны в чинопоследованиях святителям, за исключением службы юродивому Василию Блаженному. Анализ характерных особенностей строения музыкальной формы четверогласников «Вострубим трубою песней» показал, что песнопения строятся по одной модели, определяемой как общая художественная модель «святительских» четверогласников. В поэтическом тексте стихиры Василию Блаженному выделяются: мотив сакрального пространства Москвы, мотив мощей; центральной становится молитва о чадородии для царской четы Федора Иоанновича и царицы Ирины, подчеркнутая музыкальными средствами. В статье впервые публикуется четверогласник Василию Блаженному «Вострубим трубою песней» с расшифровкой. The article is devoted to the research and analysis of the fourmode-chant in the Blessed Basil church service. The Fourmode-chant – is a chant divided into four parts, each of which is chanted in one of the modes. In ancient Russian hymnography several fourmode-chant with incipit “Vostrubim truboyu pesney” (“Let us sound the trumpet of festal hymns”) are known. The main repertoire of which was revealed and analysed on the material of Sticherarion “D’yachye Oko” from D. V. Razumovsky’s collection of manuscripts. Frequently fourmode-chants with this incipit appear in services dedicated to church hierarchs. The chants are composed according to one common model called artistic model of “hierarchal” fourmode-chants. Each mode has a semantic meaning in the poetic composition of the heteromode-chant. The musical and poetic structure of chants contains common and independent fragments that distinguish the degree of independence of the pieces. The hymn of St. Basil reflects the meaning and nature of the worship of the saint. The poetic text of the sticheron highlights the sacred space of Moscow, in the center of which a sacred rite takes place, the motive of relics and a prayer for childbearing for the royal couple of Feodor I Ioannovich and Irina Feodorovna. This prayer is emphasized by musical media. This prayer is the central motive of the whole text. The article presents for the first time a transcription of the chant “Vostrubim truboyu pesney” from Blessed Basil’s service.
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Козырева, А. А. "Sacred Topography in Chants to the Uncovering of the Relics of St. Euthymius of Suzdal." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 176–95. http://dx.doi.org/10.26156/om.2023.15.2.008.
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Статья посвящена исследованию отражения священной топографии города Суздаля в песнопениях уникальной службы прп. Евфимию Суздальскому на 4 июля, тексты которой были созданы в 40-х гг. XVI века гимнографом, агиографом, иноком мужского суздальского Спасо-Евфимиева монастыря Григорием. Песнопения чинопоследования, обнаруженные в Стихираре типа «Дьячье Око» из собрания Д. В. Разумовского, рассматриваются в статье как специфический феномен локальной певческой культуры середины XVII века. Неоднократное упоминание Суздаля в музыкально-поэтических текстах службы позволяет рассмотреть их с точки зрения музыкальной иеротопии как направления в искусствоведении, исследующего роль церковного пения в оформлении сакрального пространства. Анализ образов «священного града» Суздаля, важнейших храмов как сакральных локусов, а также гробницы прп. Евфимия в поэтических текстах службы доказывает их непосредственную связь с локальной литургической традицией. На основании исследования художественной структуры роспева одного из песнопений в честь почитаемого суздальского святого автор приходит к выводу о том, что музыкальная форма последовательно воплощает средствами знаменного роспева образность, связанную с разными уровнями священной топографии города и его символическим центром — ракой с чудотворными мощами прп. Евфимия. This work studies the way how the sacred topography of the city of Suzdal appears in the chants from the unique service of St. Euthymius of Suzdal on July 4, the texts of which were created in the 40s of the 16th century by the hymnographer, hagiographer, monk of the male Suzdal Spaso-Euthymiev monastery Grigory. The chants of the rites, discovered in the Book of Sticheron “D’yach’e oko” from the collection of D. V. Razumovsky, are first considered in the article as a specific phenomenon of the local singing culture of the mid XVIIth century. The repeated mention of the city of Suzdal in the musical and poetic texts of the service allows us to consider them from the point of view of musical hierotopy as a trend in the art history that explores the role of church singing in the design of sacred space. The analysis of the images of the “sacred city” of Suzdal, the most important temples as sacred loci, as well as the tomb of St. Euthymius in the poetic texts of the service proves their direct connection with the local liturgical tradition. Having studied the artistic structure of the chant of one of the texts in honor of the revered Suzdal saint, the author comes to the conclusion that the musical form consistently embodies the imagery associated with different levels of the sacred topography of the city, lining up, by means of the znamenny chant, from its symbolic center — the shrine with the miraculous relics of St. Euphemius.
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Подрезова, С. В., and Т. В. Швец. "The Liturgical Singing Tradition of the Old Believers Priests of the Village of Koida (Based on the Materials of the Pushkin House Expedition in 1975 and 1976)." OPERA MUSICOLOGICA, no. 2021 (December 24, 2021): 6–36. http://dx.doi.org/10.26156/om.2021.13.4.001.
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В 1975 и 1976 годах состоялись фольклорные экспедиции Института русской литературы в с.Койда Мезенского р-на Архангельской области, в ходе которых были записаны разнообразные в стилевом и историческом отношении духовные стихи, а также богослужебные песнопения. До настоящего времени коллекция звукозаписей, хранящаяся в Фонограммархиве ИРЛИ, не становилась предметом специального изучения. В ходе исследования удалось атрибутировать гимнографические тексты, выделить особенности распевов и духовных стихов, выявить их источники, частично реконструировать условия звукозаписи. На основе материалов более поздних фольклорно-археографических экспедиций ИРЛИ были восстановлены сведения о жизни старообрядческой общины, которая принадлежала к белокриницкому согласию. Коллекция богослужебных песнопений в музыкальном отношении разнообразна: она содержит пение «по напевке», «на глас», распевы письменной традиции, памятогласие. Внебогослужебная лирика представлена популярными духовными стихами позднего происхождения, за исключением эсхатологических стихов, распевы которых опираются на богослужебную традицию гласового пения. In 1975 and 1976, the Institute of Russian Literature (the Pushkin House) arranged expeditions to the village of Koida, Mezensky District, Arkhangelsk Region, during which spiritual verses and liturgical chants diverse in style and history were recorded. Until now, the collection of sound recordings (32 items) stored in the Phonogram Archive has not been a subject of special study. In the course of the research, it has become possible to attribute hymnographic texts, to highlight specifics of the chants and spiritual verses, to identify their sources, and partially reconstruct conditions of the sound recording. The materials of later folklore and archaeographic expeditions, provided the following information: facts about the life of the Old Believer’s community that belonged to the Belokrinitsky concord, the names of mentors, forms of mentoring and transmitting the singing tradition. The chants and spiritual verses were recorded from two significant performers — mentors Nadezhda Malygina and Nikandr Malygin. The collection of chants is diverse and contains oral and written versions of chants, mnemonic (pamyatoglasie). Non-liturgical music is represented by popular spiritual poetry of late origin, except for eschatological verses, the melody of which is similar to the chant.
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Жуковская, И. И. "Reminiscence of the Image-Paradigm of the Priesthood of the Virgin in Himnography of the Great Vespers of the Nativity of the Mother of God." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 124–43. http://dx.doi.org/10.26156/om.2023.15.2.006.
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Празднование Рождества Богородицы, возникшее в начале VI века в греческой Церкви, широко распространилось в христианском мире. Образ Богоматери связывался в латинском и византийском течениях христианства с церковью и литургией, что обусловило появление парадигмы «Богоматерь-священник». В Византии Священство Богородицы стало символически емким и укорененным в традиции понятием, нашедшем отражение в иеротопии — особом творчестве, результатом которого было формирование сакрального пространства праздничного богослужения. Чинопоследование Рождества Богородицы сложилось как высокохудожественное, совершенное по структуре и драматургии священнодействие. Музыкально-поэтические тексты чина обнаруживаются в Стихирарях, Ирмологионах и книге Праздники, созданных в религиозно-культурных центрах Восточной Европы — Великом Княжестве Литовском и Московской Руси. В исследовании поставлена цель охарактеризовать образ Богородицы в списках песнопения «Денесе иже на разуменыихо престолехо» великой вечерни Рождества Богородицы конца XVI–XVIII вв. как реминисценции образа-парадигмы византийской иконографии «Священство Богоматери». Творчество белорусско-украинских и московских мастеров показывает многогранность и подвижность его отражений. В двух певческих традициях сформировались устойчивые и самостоятельные модели-отзвуки образа-парадигмы. Оригинальные композиции обнаруживают неповторимую и разнообразную корреляцию музыкальной лексики и поэтического текста. Celebration of the Saint Virgin’s Birth, which started in the early 6th century in the Greek Church, widespread in the Christian world. The image of the Mother of God was associated in Latin and Byzantine currents of Christianity with the church and the liturgy, which determined appearance of the Saint Virgin-priest paradigm. In Byzantium the Priesthood of the Saint Virgin became a symbolic notion, which was reflected in hierotopy — a specific art implying formation of the sacred space of festive worship. The Nativity of Virgin Mary developed in a highly artistic and perfectly structured and dramatized service. Musical and poetic texts of the chant can be found in Verses, Irmologions and the Book of Prazdniki (Feasts), created in the religious and cultural centers of Eastern Europe — the Grand Duchy of Lithuania and Moscow Rus. The aim of the study is to characterize the image of the Mother of God in the lists of the chant “Now in heaven thrones” of the great Vespers of the Nativity of Virgin Mary at the end of the XVI–XVIIIth centuries, as a reminiscence of the image-paradigm of the Byzantine iconography “The Priesthood of the Saint Virgin”. The work of the Belarusian-Ukrainian and Moscow masters shows the versatility and mobility of its reflections. The two liturgical traditions formed stable and independent models-reflections of the image-paradigm. The form of the original compositions of the chant reveal a unique and diverse correlation between the musical vocabulary and the poetic text.
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Захарьина, Н. Б. "Medieval Tradition in The New Time: Creative Activity in the Field of Monodic Chants." OPERA MUSICOLOGICA 15 / 3, no. 15/3 (2023) (2023): 232–49. http://dx.doi.org/10.26156/om.2023.15.3.013.
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В синодальный период русской церковной музыки продолжалась работа с монодийными песнопениями. В статье описаны два гимна Успения Богородицы: «Богоначальным мановением» и «Егда преставление», которые хорошо известны по средневековым рукописям и были отредактированы в XIX в. Первое из них представляет собой осмогласник. Порядок гласовых мартирий был изменен при редакции книги «Праздники» синодального издания, два фрагмента мелодии были роспеты заново. Стихира «Егда преставление» в древнерусских рукописях был роспета в знаменном, путном и демественном стилях. В XVIII–XIX вв. она получила несколько новых напевов в знаменном и демественном роспевах как в официальной церковной, так и в старообрядческой традиции. В синодальное издание вошел вариант стихиры, созданный в XVIII в. Все вновь созданные мелодии представляют собой центон-композиции, где главную роль играют попевки, в то время как мелодические обороты — лица и фиты — сохраняются по традиции. Данный факт согласуется с попевочной теорией осмогласия XIX в., разработанной В. М. Металловым и С. В. Смоленским. During the synodal period of Russian church music work with monodic chants carried on. This article describes two hymns from the dormition of the Theotokos service: At the Divine Behest and When the Translation of thine immaculate body. Both of them are well known in the medieval manuscripts and were re-chanted in the 19th century. At the Divine Behest is an octomodal hymn. The order of modal signatures was changed in the course of preparation of the new synodal edition of the chant book Prazdniki/Feasts. Two fragments of the melody were created again. The sticheron When the Translation of thine immaculate body in Old Russian manuscripts had melodies of znamenny, putny and demestvenny chants. In 18th and 19th centuries. it received several new melodies in znamenny and demestvenny chants both in the tradition of official church and that of Old-Believers. All the synodal editions include a variant created in the 18th century. All the new melodies are centon composotions, where popevkas play the main role while melismatic formulas were preserved as traditional elements. This fact is concurred with the 19th century theory of octomodal system elaborated by Vassily M. Metallov and Stepan V. Smolensky.
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Bongarge, Kirti S., Kalpana K. Jadhav, and M. M. Godbole. "A REVIEW OF THE EFFECT OF OMKAR MANTRA CHANTING ON THE NERVOUS SYSTEM AND ITS BENEFITS." International Journal of Research in Ayurveda and Pharmacy 13, no. 3 (2022): 76–78. http://dx.doi.org/10.7897/2277-4343.130363.
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Through this review, we are trying to explore the relevant work done on the Om Mantra chanting effect on the Nervous System and its benefits. Mantra yoga is one a part of yoga since ancient times. Om is the matrix of all mantras. The Om Mantra is described as Pranav in Patanjali Yogsutra. Its Japa [constant repetition], with bhavnam is the way [ should be done] or is advised at the beginning of Yoga sutras. Its Japa results in overcoming the obstacles of the mind before doing yoga and turning inward consciousness. The Upanishads are full of references regarding the ‘Om’ mantra. Om is composed of three sounds, A, U and M, with a deep breath. It encompasses the sound of syllables that have an eternal purpose. When we chant ‘AUM’, a vibration sound is felt through our vocal cord, which clears and opens up the sinuses touching our front teeth gently, will now start to feel the top of our head. ‘Om’ and its effect on the Nervous System is the endeavour of this review work. Research shows that Om chanting stimulates the Vagus Nerve through its auricular branches, sharpening the brain. The studies show that chanting Om can reduce activities of limbic brain regions, amygdala, hippocampus, parahippocampal gyrus, insula, orbitofrontal and anterior cingulate cortices and thalamus. These are the portion of the brain associated with stress and emotions. When the ‘A’ sound starts, it generates a vibration in the abdomen. This strengthens the spinal cord. With all these reviews, we conclude the beneficial effect of Omkar Mantra Chanting on the Nervous System.
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Kesteloot, Chantal. "Le chant du cocq." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 67, no. 1 (2008): 47–54. http://dx.doi.org/10.21825/wt.v67i1.12461.
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De geschiedenis van de Vlaamse beweging wekt sinds lang de belangstelling van de Vlaamse vorsers. Tegelijk heeft de theorievorming rond nationalisme zich tijdens de laatste jaren volledig vernieuwd. De Gentse historicus Maarten van Ginderachter combineert in Le chant du coq zijn twee interessesferen en stelt een bijtend essay voor over de geschiedenis van de Waalse beweging. Het betreft een boeiende herlezing van de meest recente werken die aan de beweging gewijd werden, in het bijzonder L’Encyclopédie du Mouvement wallon. Zijn doel is aan te tonen dat, in weerwil van de steeds herhaalde visie, de beweging eveneens een etnisch discours gebruikt. Bijgevolg is de tegenstelling tussen een 'etnische' Vlaamse beweging en een 'civiele' Waalse beweging eerder een geloofszaak die niet bestand is tegen een wetenschappelijke analyse. De vraagstelling verdient een verder uitdieping. Om de staat van de geschiedschrijving van de Waalse beweging te begrijpen, is het essentieel de omstandigheden van de productie te bekijken net als de verhouding, in Wallonië, tussen de politieke macht en de academische sfeer. Daarenboven stelt zich de vraag naar de (on)mogelijkheid van een gedeelde nationale geschiedenis. Vlaamse en franstalige vorsers lijken meer en meer een verschillende visie op het verleden te hebben, een visie die zelfs zodanig verschilt dat er geraakt wordt aan het zelfbeeld en het beeld van de andere.________Le chant du coqFlemish researchers have been interested in the history of the Flemish movement for a long time. At the same time the theory formation about nationalism has been completely renovated during the past years. In Le chant du coq the Ghent historian Maarten Van Ginderachter combines his two areas of interest and presents a sarcastic essay about the history of the Walloon movement. It concerns an absorbing rereading of the most recent works that were dedicated to the movement, in particular the Encyclopédie du Mouvement wallon. He intends to demonstrate that in spite of the ever repeated vision, the movement also utilizes an ethnic discourse. Consequently the opposition between an 'ethnic' Flemish movement and a 'civil' Walloon movement is rather a matter of faith, which cannot stand up to scientific analysis. The issue deserves further in-depth study. In order to understand the state of the historiography of the Walloon movement, it is essential to view the circumstances of the production as well as the relationship between the political power and the academic atmosphere in Wallonia. In addition the question about the (in)possibility of a shared national history must be raised. The visions of the past held by Flemish and French-speaking researchers appear to be growing further and further apart, with the consequence that these separate visions influence both the self-image and the image of the other party.
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Денисов, А. В. "Chorale “Ein feste Burg ist unser Gott” in “The Huguenots” by Giacomo Meyerbeer — Paradoxes of a Famous Theme." OPERA MUSICOLOGICA 15 / 3, no. 15/3 (2023) (2023): 108–21. http://dx.doi.org/10.26156/om.2023.15.3.007.
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В статье рассматривается цитата лютеранского хорала “Ein feste Burg ist unser Gott” в опере Дж. Мейербера «Гугеноты». Ее оценки и музыкантами-профессионалами, и критиками оказались различными, что обусловлено уже самим происхождением первоисточника. Эта цитата представляет осознанно допущенный Мейербером анатопизм: французские протестанты не могли ее исполнять, так как у них был собственный репертуар литургических песнопений. Показаны реальные причины, объясняющие обращение композитора к этому хоралу. Первая состоит в том, что он был хорошо известен французской аудитории, выступая в качестве обобщенного символа протестантской религии в целом. Раскрыты конкретные исторические и культурные предпосылки, благодаря которым этот символ смог сформироваться. Вторая причина заключается в характере религиозного самосознания последователей Кальвина, отождествлявших себя, в частности, с христианами, гонимыми в первые века, а также с ветхозаветными израильтянами. В этом контексте именно “Ein feste Burg” максимально полно мог воплотить главную идею сюжета «Гугенотов» — несокрушимую веру в собственные убеждения. В заключении кратко сказано о потенциальном «сценарии» интерпретации цитаты французской аудиторией в контексте ее отношения к протестантству в годы премьеры оперы. The article considers the quotation of the Lutheran chant “Ein feste Burg ist unser Gott” in the opera “Huguenots” by G. Meyerbeer. Its assessments by both professional musicians and critics were different, which is due to the very origin of the original source. In itself, this quotation represents an anatopism consciously admitted by Meyerbeer: French Protestants could not perform it, since they had their own repertoire of liturgical chants. The author shows the real reasons explaining the composer’s appeal to this chorale. The first is that it was well known to the French audience, acting as a generalized symbol of the Protestant religion in general. The article reveals specific historical and cultural prerequisites, which this symbol is due to. The second reason lies in the nature of the religious self-consciousness of the followers of Calvin, who identified themselves, in particular, with Christians who were persecuted in the first centuries, and Old Testament Israelites. In this context, “Ein feste Burg” fully embodies the main idea of the plot of “Huguenots” — unshakable faith in one’s own convictions. In conclusion, it is briefly said about the potential “scenario” for the interpretation of the quote by the French audience in the context of its attitude towards Protestantism during the years of the opera’s premiere.
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Егорова, М. С. "“The Incorruptibility of Eternal Life” in the Space of the Saint’s Tomb (Chants to St. Peter of Moscow and Altar Paintings of the Moscow Assumption Cathedral)." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 18–39. http://dx.doi.org/10.26156/om.2023.15.2.002.
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В статье художественная форма песнопений в честь свт. Петра Московского рассматривается в пространственном контексте гробницы святого в некрополе Успенского собора Московского Кремля. Уникальный комплекс фресок в алтаре Успенского собора (1479–1481), окружающих раку с мощами святителя в жертвеннике, автор интерпретирует как часть пространства памяти/locus memoria, в котором доминирующими являются образы «нетления вечной жизни». Прослеживается связь погребально-меморативной образности с музыкально-поэтическими текстами службы митр. Петру на 21 декабря. Материалом исследования послужили нотированные списки XV–XVII вв., включающие в состав чинопоследования стихиры-славники на «Господи, воззвах», на стиховне и на хвалитех. Анализ поэтического текста и музыкальной ткани показал, что как художественная структура песнопений, так и иконографическая программа росписей ориентированы на единую меморативную семантику, в которой ведущую роль играют эсхатологические мотивы. Сложная организация роспева подчеркивает поэтические формулы, характеризующие святого не столько как духовного пастыря и предстоятеля Русской Церкви, сколько свидетеля грядущего Царствия Небесного, воскресения мертвых и преодоления законов материального мира. Автор делает вывод о том, что визуальный, музыкальный и ритуальный аспекты почитания святого в пространстве его гробницы представляют собой длящийся во времени «иеротопический проект», возникший на волне ожидания конца света в последней четверти XV века. The article is devoted to the consideration of the artistic form of chants in honor of St. Peter of Moscow in the spatial context of the saint᾽s tomb in the necropolis of the Assumption Cathedral of the Moscow Kremlin. The author offers an interpretation of a unique set of frescoes in the altar of the Assumption Cathedral, created in 1479–1481 and surrounding the shrine with the saint᾽s relics in the altar, as part of the space of memory, or locus memoria, in which the images of “incorruptible eternal life” are dominant. Further, the article traces the connection of funeral-memorial imagery with the musical and poetic texts of the service of Metropolitan Peter on December 21st. The notated lists of the 15th–17th centuries, which include stichera glorifying on “Lord, cry out”, on verses and on praises, served as the material for the study. The analysis of the poetic and the musical texts showed that the artistic structure of the chants is oriented towards the same memorative semantics, in which eschatological motifs play the leading role, as the iconographic program of the altar paintings. The complex organization of the chant, built on a system of vocalizing fragments, emphasizes the poetic formulas that characterize the saint not so much as a spiritual shepherd and primate of the Russian Church, but as a witness to the coming Kingdom of Heaven, the resurrection of the dead and overcoming the laws of the material world in the space of “resurrection”. The author concludes that the visual, musical and ritual aspects of the veneration of the saint in the space of his tomb represent a “hierotopic project” lasting in time, which arose on the wave of anticipation of the end of the world in the last quarter of the 15th century.
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Лобкова, Г. В. "Russian Epic Tunes in 1871 Manuscript from the Collection of the Scientific Music Library of the Saint Petersburg Conservatory." OPERA MUSICOLOGICA 15 / 4, no. 2023. 15/4 (2023): 118–42. http://dx.doi.org/10.26156/om.2023.15.4.007.
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В статье впервые публикуются факсимильные копии пяти слуховых нотаций русских эпических напевов из записной книжки, хранящейся в фондах Научно-исследовательского отдела рукописей Научной музыкальной библиотеки Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова. Записи, датированные 9 сентября 1871 г., имеют большую научную и художественную ценность, поскольку относятся к первым опытам фиксации напевов былин непосредственно из уст народных сказителей. Четыре из пяти образцов являются вариантами единого строфического напева с подвижной структурой, характерного для традиций Заонежья и Пудожья. Пятый образец определяется как вариант напева скоморошины «Птицы». Рукопись имеет черновой характер, не содержит следов редактирования и обнаруживает большую степень достоверности. По ряду признаков можно сделать вывод, что автограф принадлежит Николаю Феопемптовичу Соловьёву. С большой долей вероятности выясняется и имя исполнителя былин — это заонежский сказитель В. П. Щеголёнок. The article presents facsimile copies of five notations of Russian epic tunes from a notebook kept in the funds of the Research Department of Manuscripts of the Scientific Music Library of the St. Petersburg Rimsky-Korsakov State Conservatory. Notations are dated September 9, 1871 and are of great scientific and artistic value. They belong to the first experiments of fixing epics melodies directly from folk storytellers. Four of the five examples are variants of a single flexible strophic chant typical for Zaonezhye and Pudozhye traditions. The fifth tune is defined as a variant of the skomoroshina Birds. The manuscript is a draft, contains no traces of editing and reveals a large degree of reliability. Based on several features, it can be assumed that the autograph belongs to Nikolai F. Solovyov. There is a strong likelihood that the name of the performer of the epics is a Zaonezhye storyteller Vassily P. Shchegolyonok.
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Аревшатян, А. С. "On the Issue of the 16-Mode System in the Theoretical Treatises on Music by Grigor Gapasakalian." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 40–52. http://dx.doi.org/10.26156/om.2020.12.1.003.
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На протяжении своей истории церковная певческая практика и песнетворчество постоянно выходили за рамки, установленные церковным каноном Восьмигласия. Это отчетливо прослеживается при анализе мелодических образцов самых различных гимнографических национальных традиций. Статья посвящена 16-ти ладовой системе, упоминаемой в музыкально-теоретических трактатах видного константинопольского армянского музыканта-теоретика Григора Гапасакаляна (1740-1808) Книжка, называемая Музыкальное собрание , Книга о музыке и Книга Восьмигласия . Изучение этих трудов показало, что речь идет о некоем расширенном каноне , включающем 4 основных, 4 плагальных, 4 медиальных и 4 фторальных лада, что соответствует 16-ти ладам асмы в теории византийской церковной музыки. Проясняется сущность и назначение 16-ладовой системы, существовавшей и у греков, и армян, что свидетельствует о ней, как о сложной, разветвленной и многоярусной оригинальной модальной системе, не исчерпывающей тем не менее ладового многообразия живого певческого искусства. Throughout its history, church chanting practice and chant writing has constantly gone beyond the framework established by the ecclesiastical canon of the Octoechos. This can be clearly seen in the analysis of melodic samples of the most diverse hymnographic national traditions. The article is dedicated to the 16-mode system mentioned in the theoretical treatises on music by the prominent Armenian music theorist from Constantinople Grigor Gapasakalian (17401808) the Small Book Called Music Collection, the Book on Music and the Book of Octoehos. The study of these writings showed a presence of an extended canon that included 4 essential, 4 plagal, 4 medial and 4 phtoral modes, these corresponding to the 16-mode system of the asma in the byzantine theory of church music. This clarifies that the essence and purpose of the 16-mode system existed both among the Greeks and Armenians. And that testifies it as a complex, ramified and multi-tiered original modal system, which nonetheless does not exhaust the modal variety of living chanting art.
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Белогурова, Л. М., and Ю. С. Журавлева. "The Main Type of Wedding Songs in the South Skopin Area: To the Problem of Structural Specificity." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 58–73. http://dx.doi.org/10.26156/om.2022.14.1.004.
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Статья посвящена свадебным обрядовым песням Скопинского района Рязанской области, которые еще не становились предметом специального этномузыкологического исследования. В центре внимания находится главный песенный тип южноскопинской свадьбы: его удельный вес составляет половину местного свадебного репертуара. На материале экспедиционных записей второй половины ХХ века, произведенных собирателями Российской академии музыки имени Гнесиных, авторами предпринято аналитическое описание различных компонентов напевов с целью их типологической атрибуции и посредством этого — региональной интерпретации южноскопинской свадебной музыкальной традиции. Проведенное исследование показало уникальный характер ритмической системы напевов, которая характеризуется большим числом изменяемых элементов. Следствием этого является многообразие ритмических версий напевов, зафиксированных на небольшой территории, а также наличие образцов мобильной организации. Неординарны сами музыкально-ритмические формы, не имеющие аналогов в иных русских традициях. В противоположность этому, ладо-звукорядные характеристики ведущего песенного типа южноскопинской свадьбы указывают на тесную связь исследуемого объекта с культурой южнорусского региона. Об этом убедительно свидетельствуют доминирование ангемитонных ладов и наличие целотоновой шкалы, высотная нестабильность тонов и существование нескольких звукорядных версий напева в узколокальных традициях. Требует дальнейшего изучения проблема соотношения скопинских песенных образцов с музыкально-поэтическими текстами той же обрядовой функции, зафиксированными в других традициях рязанского Поочья. The article is devoted to wedding ritual songs of the Skopin district of the Ryazan region which have not yet become the subject of a special ethnomusicological study. The focus is on the main song type of the Skopin wedding, which takes half of the local wedding repertoire. The work is based on the material of expedition recordings of the second half of the twentieth century, made by ethnomusicologists of the Gnesin Russian Academy of Music. The authors have undertaken an analytical description of various components of the songs to provide their typological attribution, and through this — regional interpretation of the wedding musical tradition itself. The research conducted revealed a unique nature of the rhythmic system of the folk songs, which is characterized by a large number of variable elements of the structure. This results in a variety of rhythmic versions of the tunes recorded in a small area, as well as samples of a mobile organization. The musical and rhythmic forms themselves are extraordinary, and have no analogues in other Russian traditions. In contrast, the scale characteristics of the leading song type of the South Russian wedding indicate a close connection of the object under study with the culture of the South Russian region. This is convincingly evidenced by dominance of an angemitonic scale and usage of a whole-tone scale, pitch instability of tones and availability of several scale versions of the chant in restricted-local traditions. The problem of correlation of the Skopin song samples with musical and poetic texts with the same ritual function recorded in other traditions of the Ryazan region requires further study.
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Кручинина, А. Н., and М. С. Егорова. "On Tasks and Methods of Musical Hierotopy." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 8–16. http://dx.doi.org/10.26156/om.2023.15.2.001.
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Музыкальная иеротопия — молодое направление в современной музыкальной медиевистике, основы которого во многом были заложены исследователями предшествующих десятилетий, однако специфические задачи, методы и проблематика начинают складываться только сейчас. Концепция иеротопии была предложена в 2006 году А. М. Лидовым как специальная область исторического знания, направленная на изучение особого вида творчества — создания сакральных пространств преимущественно в восточнохристианской средневековой традиции. Для автора концепции принципиально важным стало осознание необходимости нового взгляда на памятники средневекового искусства, при котором, отказавшись от общераспространенной в искусствознании «предметоцентричности», исследователи могут сосредоточиться на сакральном пространстве — самодостаточном феномене со своим замыслом, структурой, соподчиненностью видимых, слышимых и осязаемых форм, образностью и динамикой. Новый подход был призван акцентировать внимание на том, что любое произведение религиозного искусства Средневековья задумывалось и создавалось как один из элементов «иеротопического проекта», иерархической структуры особого сакрального пространства. Церковное певческое искусство, уже не одно десятилетие привлекающее внимание специалистов в области истории музыки, закономерным образом оказывается в поле зрения иеротопии. Музыкальный феномен литургического певческого текста изначально создавался, существовал и воспринимался прежде всего внутри сакрального пространства храма, непосредственным образом участвуя в его оформлении. Поэтому в контексте музыкальной медиевистики невозможно рассматривать пространство как чисто внешнюю среду существования музыкальных текстов, их субъективную проекцию или своеобразное ассоциативное дополнение к собственно музыкальному содержанию. В чем заключается роль песнопения при создании сакрального пространства, наряду с иконографией, драматургией и семантикой ритуала (богослужебные действия, образность литургических предметов, символика священнических облачений, система освещения, запахи и т. д.)? Каковы, собственно, объект исследования и методы музыкальной иеротопии? В поисках ответов на поставленные вопросы ученые сталкиваются с рядом методологических проблем: в их числе — неочевидность корреляций между пространственными и временны´ми видами искусства, использующими разные материалы и разный художественный язык, и — что особенно важно — многозначность собственно понятия «пространство», которое, безусловно, нуждается в уточнении. В контексте музыкальной медиевистики внутреннее пространство конкретного архитектурного объекта (определенного средневекового храма с характерным для него объемным решением и индивидуализированной морфологией) можно рассматривать в нескольких ракурсах. С одной стороны — как особым образом организованный интерьер с традиционными и уникальными, характерными только для данной постройки элементами, в рамках определенной историко-культурной эпохи. Статичное архитектурное пространство насыщено традиционной литургической символикой, которая играет ключевую роль в его осмыслении и восприятии. С другой стороны, храмовое пространство наполнено художественными артефактами, которые «внедрены» в него и организованы определенным образом в соответствии со средневековыми социокультурными практиками или индивидуальным замыслом, представляя собой некое художественное целое, подлежащее последовательной интерпретации. Далее, с точки зрения иеротопии, сакральное пространство принципиально динамично: в его материальной и символической «раме» происходит богослужебный ритуал, немыслимый без исполнения певческих текстов. Подвижны элементы, организующие обрядовое действо и его драматургию, разворачивающуюся во времени, — движение, перемещение, пение, жесты, световая драматургия и т. п. Статичные, на первый взгляд, элементы пространства (например, архитектурные конструкции и визуальные образы) также приобретают динамические характеристики, будучи вовлечены в обрядовое действо и восприняты, осмыслены и интерпретированы познающим сознанием участника богослужения. Подвижен и музыкальный текст, восприятие которого может быть субъективным, личностно окрашенным и одновременно обусловленным традицией, коллективной памятью культуры. «Одушевленное» музыкальной составляющей обряда пространство «проживается» участниками богослужения, поэтому у него есть еще и перцептивный аспект: даже такие объективные физические характеристики, как особенности звуковой среды в пространстве храма, влияют на восприятие всех его элементов, на эмоциональное и интеллектуальное истолкование, обусловленное традиционалистским типом средневековой культуры. Все данные аспекты необходимо учитывать, отвечая на вопрос, как песнопение, зафиксированное в средневековой нотированной рукописи, может являться одним из инструментов при создании конкретного сакрального пространства. С привлечением давно сложившихся и ставших традиционными в музыкальной медиевистике методов (источниковедение, музыкальная текстология, историко-культурный анализ, стилеведение, поэтика, компаративистика) литургические песнопения древнерусской традиции следует наконец осмыслить и в контексте сущностной поликодовости средневекового искусства в целом. В настоящем выпуске помещены статьи по материалам I Всероссийской научной конференции с международным участием «Музыкальная иеротопия в современных исследованиях. How to Create Space with Chants…», которая состоялась 12 мая 2022 года в Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова. Публикации посвящены достаточно широкому кругу проблем, связанных с музыкальной иеротопией. Musical hierotopy is a young direction in the modern musical medievalism mainly founded by researchers of the previous decades. However, it is not until now that its tasks, methods and the range of issues under study have been determined. The idea of hierotopy was proposed by A. M. Lidov in 2006 and meant a specific historic domain studying particular type of art, i.e. creation of sacred areas, mainly within the oriental Christian medieval tradition. The author of the idea considered extremely important to gain awareness of the need to develop a new vision of the monuments of the medieval art, which implies focus on the sacred area rather than on the objects of art, which used to be a widespread approach, as the sacred areas represent an integral phenomenon which has its own conception, structure, hierarchy of all the visible, audible and tangible forms, images and dynamics. The new approach took into account the fact that every work of the religious art was created as one of the elements of a “hierotopic project”, a hierotopic structure of a specific sacred space. The art of church singing has been attracting specialists in the music history for more than several decades and falls within the scope of the hierotopy. The musical phenomenon of a liturgical singing text was originally created, existed and was perceived primarily within the sacred space of the temple, directly participating in its design. Therefore, in the context of musical medieval studies, it is impossible to consider space as a purely external environment for the existence of musical texts, their subjective projection or a kind of associative addition to the actual musical content. What is the role of chants in creation of a sacred space, along with icono graphy, dramaturgy, and the semantics of a ritual (liturgical actions, the imagery of liturgical objects, the symbolism of priestly vestments, the lighting system, smells, etc.)? What, in fact, is the object of study and the methods of musical hierotopy? In search of answers to the above questions, scientists face a number of methodological problems including obscure correlations between spatial and temporal art forms using different materials and different artistic language, and, what is most important, ambiguity of the concept of "space" itself, which, certainly, needs clarification. In the context of musical medievalism, the interior space of a certain medieval temple can be viewed from several angles. On the one hand, as a special organized interior with traditional and unique elements characteristic only for this building, within a certain historical and cultural era. The static architectural space is saturated with traditional liturgical symbolism, which plays a key role in its understanding and perception. On the other hand, the temple space is filled with artistic artifacts that are "embedded" in it and organized in a certain way in accordance with medieval socio-cultural practices or individual design, representing a kind of artistic whole that is subject to consistent interpretation. Further, from the point of view of hierotopy, the sacred space is fundamentally dynamic: in its material and symbolic "frame" a liturgical ritual takes place, inconceivable without performance of chanting texts. Mobile elements that organize the ritual action and its dramaturgy unfolding in time are movement, movement, singing, gestures, light dramaturgy, etc. Static, at first glance, elements of space (for example, architectural structures and visual images) also acquire dynamic characteristics, being involved in ritual action and perceived, comprehended and interpreted by the cognizing consciousness of the participant in the church service. The music text is also mobile. Its perception can be subjective, personally colored and at the same time due to tradition, and the collective memory of culture. The space “animated” by the musical component of the rite is “suffered” by the participants of the service, therefore it also has a perceptual aspect: even such objective physical characteristics as the features of the acoustic environment within the space of the temple affect, the emotional and intellectual interpretation, which is due to the traditionalist type of medieval culture. All these aspects must be taken into account when answering the question how a chant recorded in a medieval notated manuscript can be one of the tools for creating a specific sacred space. With the involvement of the methods that have long been established and have become traditional in musical medieval studies, the liturgical chants of the ancient Russian tradition should finally be comprehended in the context of the essential polycode nature of medieval art as a whole. This issue contains articles based on the materials of the I All-Russian Scientific Conference with international participation “Musical hierotopy in modern research. How to Create Space with Chants…”, which took place on May 12, 2022 at the Saint Petersburg Rimsky-Korsakov State Conservatory.
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Ma, Ling, Zhihuan Zhang, and Weiqiu Meng. "Climate-Provenance Effect on the Organic Matter Enrichment of the Chang 9 Source Rocks in the Central Ordos Basin, China." Geofluids 2021 (July 31, 2021): 1–10. http://dx.doi.org/10.1155/2021/1233879.
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The Upper Triassic Chang 9 organic-rich sediments have been considered as effective hydrocarbon source rocks for the Mesozoic petroleum system in the Ordos Basin. Previous studies on the Chang 9 member mostly focused on the influence of their paleoproductivity and paleoredox conditions on the organic matter (OM) enrichment, whereas there are few studies on the influence of the paleoclimate condition and sediment provenance on the OM enrichment. In this study, a series of geochemical analyses was performed on the Chang 9 core samples, and their hydrocarbon generation potential, paleoclimate condition, and sediment provenance were assessed to analyze the effect of paleoclimate-provenance on OM enrichment. The Chang 9 source rocks are characterized by high OM abundance, type I−II OM type, and suitable thermal maturity, implying good hydrocarbon generation potential. Based on the C-values and Sr/Cu ratios, the paleoclimate condition of the Chang 9 member was mainly semihumid. In addition, the Th/Co vs. La/Sc diagram and negative δEuN indicate that the Chang 9 sediments were mainly derived from felsic source rocks. Meanwhile, the paleoweathering intensity of the Chang 9 member is moderate based on moderate values of CIA, PIA, and CIW, which corresponds to the semihumid paleoclimate. The relatively humid paleoclimate not only enhances photosynthesis of the primary producer, but also promotes chemical weathering intensity, leading to suitable terrestrial clastic influx to the lacustrine basin, which is beneficial for OM enrichment.
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Zhang, Tongwei, Xiangzeng Wang, Jianfeng Zhang, et al. "Geochemical evidence for oil and gas expulsion in Triassic lacustrine organic-rich mudstone, Ordos Basin, China." Interpretation 5, no. 2 (2017): SF41—SF61. http://dx.doi.org/10.1190/int-2016-0104.1.
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Forty-six core samples were collected from a deep well that penetrated organic-rich layers of the Chang 7, 8, and 9 members of the Yanchang Formation (Fm) in the Ordos Basin. Tests for total organic content (TOC), Rock-Eval pyrolysis, X-ray diffraction (XRD) mineralogy, and molecular composition of gases released from rock crushing were conducted. Analytical results indicate that TOC and clay contents are elevated. The organic matter (OM)-rich mudstone in the Triassic Yanchang Fm suggests good-to-excellent source potential for oil generation. Its thermal maturity is in the oil window. Strong petroleum expulsion occurred from the upper part of the approximately 13 m (42.6 ft) thick Chang 7 member, and for the Chang 8 and Chang 9 members, resulting in low free oil and low methane ([Formula: see text]) concentration in these OM-rich intervals. A combination of sandstone and thin organic-rich mudstone layers is a perfect hybrid lithology stacking pattern for petroleum expulsion. The thickness for effective source rock, approximately 10–12 m (32.8–39.3 ft), varied with sandstone/mudstone lithology stacking pattern. In contrast, limited or no oil expulsion occurred in the lower part of Chang 7 member, a 25 m (82 ft) thick organic-rich interval, which is indicated by high free oil and high [Formula: see text] concentration. A [Formula: see text]-TOC plot can be used to differentiate generated gas, retained gas in OM-rich mudstones, and migrated gas in permeable sandstone beds. We have developed a conceptual model for petroleum expulsion from OM-rich thin versus OM-rich thick layers. Compaction and thermal volume expansion of oil generated from OM may play an important role in petroleum expulsion in OM-rich mudstones. The estimated petroleum expulsion efficiency is approximately 70% and 35% for thin and thick OM-rich mudstone layers, respectively. The redistributed OM in clay-dominated rock assemblage likely forms the preferred migration path to petroleum expulsion.
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Sun, Xun, Quansheng Liang, Chengfu Jiang, Daniel Enriquez, Tongwei Zhang, and Paul Hackley. "Liquid hydrocarbon characterization of the lacustrine Yanchang Formation, Ordos Basin, China: Organic-matter source variation and thermal maturity." Interpretation 5, no. 2 (2017): SF225—SF242. http://dx.doi.org/10.1190/int-2016-0114.1.
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Source-rock samples from the Upper Triassic Yanchang Formation in the Ordos Basin of China were geochemically characterized to determine variations in depositional environments, organic-matter (OM) source, and thermal maturity. Total organic carbon (TOC) content varies from 4 wt% to 10 wt% in the Chang 7, Chang 8, and Chang 9 members — the three OM-rich shale intervals. The Chang 7 has the highest TOC and hydrogen index values, and it is considered the best source rock in the formation. Geochemical evidence indicates that the main sources of OM in the Yanchang Formation are freshwater lacustrine phytoplanktons, aquatic macrophytes, aquatic organisms, and land plants deposited under a weakly reducing to suboxic depositional environment. The elevated [Formula: see text] sterane concentration and depleted [Formula: see text] values of OM in the middle of the Chang 7 may indicate the presence of freshwater cyanobacteria blooms that corresponds to a period of maximum lake expansion. The OM deposited in deeper parts of the lake is dominated by oil-prone type I or type II kerogen or a mixture of both. The OM deposited in shallower settings is characterized by increased terrestrial input with a mixture of types II and III kerogen. These source rocks are in the oil window, with maturity increasing with burial depth. The measured solid-bitumen reflectance and calculated vitrinite reflectance from the temperature at maximum release of hydrocarbons occurs during Rock-Eval pyrolysis ([Formula: see text]) and the methylphenanthrene index (MPI-1) chemical maturity parameters range from 0.8 to [Formula: see text]. Because the thermal labilities of OM are associated with the kerogen type, the required thermal stress for oil generation from types I and II mixed kerogen has a higher and narrower range of temperature for hydrocarbon generation than that of OM dominated by type II kerogen or types II and III mixed kerogen deposited in the prodelta and delta front.
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Liu, Bei, Juan Teng, and Maria Mastalerz. "Maceral Control on the Hydrocarbon Generation Potential of Lacustrine Shales: A Case Study of the Chang 7 Member of the Triassic Yanchang Formation, Ordos Basin, North China." Energies 16, no. 2 (2023): 636. http://dx.doi.org/10.3390/en16020636.
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Organic matter (OM) type critically controls the hydrocarbon generation potential and organic pore development in black shales. However, maceral variation in lacustrine shales and its control of hydrocarbon generation potential and organic pore development are not yet well understood. In this study, 15 Chang 7 Member shale samples of the Yanchang Formation, Ordos Basin, were investigated with organic petrography, Rock-Eval pyrolysis, and a scanning electron microscope to study the maceral composition, hydrocarbon generation potential, and organic pores in this black shale succession. The results show that the studied shales are in the oil window (Ro ~0.70%). OM belongs to Type I and Type III kerogen, as demonstrated by Rock-Eval pyrolysis. Macerals in the Chang 7 Member shales are composed of amorphous OM, alginite, sporinite, liptodetrinite, vitrinite, inertinite, and solid bitumen. Amorphous OM and alginite are major hydrocarbon-generating macerals, and their content determines the hydrocarbon potential of shales. Secondary organic pores were not observed in the studied Chang 7 Member shales due to either a low thermal maturity or a dominance of terrigenous OM. Maceral variation can affect the reliability of using Rock-Eval Tmax as a thermal maturity indicator. This study provides important insights into maceral control of hydrocarbon generation and organic pore development in black shales, calling for a critical evaluation of OM in black shale successions with organic petrography.
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Косых, А. В. "Russian Spiritual Verses in the “Living Book” of the Doukhobors." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 74–93. http://dx.doi.org/10.26156/om.2022.14.1.005.
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Статья посвящена культовым песнопениям духоборцев — «псалмам», в которых распеваются тексты русских духовных стихов. Долгое время такие произведения рассматривались музыковедами как образцы, появление которых среди богомолебных песнопений духоборцев напрямую связано с угасанием традиции религиозного пения, выраженным в замещении культовых форм фольклорными. Однако употребление текстов духовных стихов в качестве религиозных (исполняющихся на богомолениях) характерно и для раннего этапа существования духоборчества. Данный факт нашел отражение в многочисленных документах и публикациях XVIII–XXI веков. Первые напевы интересующих нас «псалмов» были зафиксированы в начале ХХ столетия — эпоху, близкую к расцвету религиозно-певческой традиции секты. Проникновение духовных стихов в сферу культовой музыки закономерно для духоборчества. С одной стороны, оно обусловлено связью учения с протестантизмом, с другой — определено принятой в секте устной формой трансмиссии текстов и песнопений, раскрывающих вероучение. При анализе музыкально-стилевых свойств «псалмов» выявляются признаки первоисточников напевов (русских духовных стихов разных историко-стилевых пластов); демонстрируются примеры трансформации фольклорных по стилю песнопений в культовые. В заключение ставится вопрос о жанровой специфике исследованных образцов. The article is devoted to the cult songs of the Doukhobors — “psalms” chanting the texts of Russian spiritual verses. For a long time, emergence of such samples among the liturgical chants of a sect was considered by musicologists as an indication to a decline in the tradition of religious singing, expressed in the replacement of cult forms with folklore. However, the use of texts of spiritual verses as religious (performed at prayers) is also characteristic of the early stage of development of the Doukhobor sect. This fact is reflected in numerous documents and publications of the XVIII–XXI centuries. The first tunes of the “psalms” of interest were recorded at the beginning of the twentieth century — an era close to the heyday of the religious singing tradition of the sect. Penetration of spiritual verses into cult music is natural for Doukhobors. On the one hand, it is due to a connection of the doctrine with Protestantism, on the other hand, it is determined by the oral form of transmission of texts and chants adopted in the sect. The analysis of the musical and stylistic properties of the “psalms” reveals signs of the primary sources of the tunes (Russian spiritual verses of different historical and stylistic layers). The article also presents examples of the transformation of folklore-style chants into the cult ones, raising in the conclusion a question of genre specificity of the studied samples.
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Amy, Dalit Porat Ben, Akram Shalabi, Ori Finfter, Yonatan Birenzweig, and Yehuda Zadik. "Severe chronic nonlichenoid oral mucositis in pembrolizumab-treated patients: new cases and a review of the literature." Immunotherapy 12, no. 11 (2020): 777–84. http://dx.doi.org/10.2217/imt-2019-0162.
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Aim: To report of severe chronic oral mucositis (OM) in two pembrolizumab-treated cancer patients. Materials & methods: A retrospective chart review was performed. Inclusion/exclusion criteria detected patients that developed OM during pembrolizumab immunotherapy. In addition, we searched the literature for nonlichenoid OM in immunotherapy-treated cancer patients. Results: Two male patients treated for anaplastic astrocytoma and lung adenocarcinoma were included. Extensive painful OM (grade 4) developed in both patients during the course of immunotherapy and the ulcerations remained >30 weeks (>16 weeks after stopping immunotherapy). Superficial mucocele appeared in one patient. In one patient, pain relief was achieved with photobiomodulation (low-level laser) therapy. Conclusion: OM induced by immunotherapy may be a major cause of suffering and eating difficulties. In most cases, the OM lasted for months even after the drug was stopped. There is a controversy regarding the beneficial effect of corticosteroids on OM in these patients.
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Bhatnagar, Bhavana, Olga G. Goloubeva, Steven Gilmore, et al. "Risk factors for oral mucositis (OM) in multiple myeloma (MM) patients receiving high-dose melphalan (Mel) prior to autologous stem cell transplantation (SCT)." Journal of Clinical Oncology 30, no. 15_suppl (2012): e19565-e19565. http://dx.doi.org/10.1200/jco.2012.30.15_suppl.e19565.
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e19565 Background: OM is a common complication of high-dose melphalan in MM patients (pts). Proposed risk factors for OM in SCT include: low albumin and high serum creatinine (Cr) levels, both were evaluated in MM patients undergoing Mel/ASCT. (Grazziutti, ML, Bone Marrow Transplant 2006). Methods: This is a single center retrospective chart review of 214 sequentially treated MM pts who received Mel 200mg/m2 conditioning prior to SCT between January 2005-September 2011. Data collected included: demographics, Hgb, Cr, C-reactive protein and albumin on the day of SCT, length of hospital stay. OM assessment was graded as follows: Grade 1, no OM; Grade 2, mild OM; the pts maintained adequate oral intake; Grade 3, decreased oral intake and/or use of oral narcotics; Grade 4, severe OM needing intravenous narcotics. Results: The table below describes pt characteristics grouped by OM grade. Overall, 56 pts (27%) had grade 3/4 OM. Multivariate analysis of variance revealed no statistically significant correlation between OM grade and Hgb, Cr, albumin, CRP; the overall test’s p value = 0.55. There were no racial or gender differences with regard to grade of mucositis, the p-values range are 0.75 and 0.31, respectively (likelihood ratio chi-square test). Most interestingly, OM did not impact length of hospital stay. Conclusions: We did not establish any predictive risk factors for OM as previously described. Analysis of the impact of OM on MM response and event and overall survival will be presented. Studies of Mel pharmacogenetics may provide insight to patients' predisposition to OM. [Table: see text]
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Белокурова, С. М. "Indian art critic and artist Om Chand Handa: main directions of creativity." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 14–21. http://dx.doi.org/10.46748/arteuras.2023.03.001.
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Статья посвящена творчеству известного индийского историка, культуролога Ом Чанд Ханды. Автор ставит целью ввести новый материал в оборот отечественной науки, поскольку труды профессора Ханды до 2015 года не публиковались в России. В статье рассматривается спектр научных интересов, методология исследовательской деятельности ученого, дается обзор нескольких статей и монографий, а также краткие биографические сведения. Автор статьи отдельно останавливается на творческой стороне работы профессора Ханды, который сопровождает исследования собственными графическими иллюстрациями. Анализируются несколько графических листов из альбома «Glimpses of Western Himalaya. Pen Drawings and Description of Majestic Mountains, Verdant Valleys and Marvelous Monuments» с точки зрения их художественной насыщенности, композиционной выразительности и технического мастерства. В заключение делается вывод о том, что Ом Чанд Ханда представляет собой яркий пример синтетической личности ученого-художника, имеющего два уровня восприятия произведения искусства: логический и эмоциональный, которые не соперничают между собой, но дополняют друг друга. The article is devoted to the work of the famous Indian historian and cultural scientist Om Chand Handa. The author aims to introduce new material into the circulation of domestic science, since the works of Professor Handa were not published in Russia until 2015. The article examines the range of scientific interests of the scientist, the methodology of his research activities, provides an overview of several articles and monographs, as well as brief biographical information about the scientist. The author of this article dwells specifically on the creative component of the work of Professor Handa, who accompanies the research with his own graphic works. The article analyses several graphic sheets from the album “Glimpses of Western Himalaya. Pen Drawings and Description of Majestic Mountains, Verdant Valleys and Marvellous Monuments” in terms of their artistic richness, compositional expressiveness and technical skill. In conclusion, it is concluded that the work of Om Chand Handa is a vivid example of the synthetic personality of a scientist-artist who has two levels of perception of a work of art: logical and emotional, which do not compete with each other, but complement each other.
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Ko, Lucy T., Robert G. Loucks, Kitty L. Milliken, et al. "Controls on pore types and pore-size distribution in the Upper Triassic Yanchang Formation, Ordos Basin, China: Implications for pore-evolution models of lacustrine mudrocks." Interpretation 5, no. 2 (2017): SF127—SF148. http://dx.doi.org/10.1190/int-2016-0115.1.
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Our main objectives are to (1) learn if pore-evolution models developed from marine mudrocks can be directly applied to lacustrine mudrocks, (2) investigate what controls the different pore types and sizes of Chang 7 organic matter (OM)-rich argillaceous mudstones of the Upper Triassic Yanchang Formation, and (3) describe the texture, fabric, mineralogy, and thermal maturity variation in the Chang 7 mudstones. Lacustrine mudstones from nine cored wells along a depositional dip in the southeastern Ordos Basin, China, were investigated. Helium porosimetry, nitrogen adsorption, and field-emission scanning electron microscopy of Ar-ion milled samples were applied. Measured average total porosity of samples from a proximal to distal transect ([Formula: see text]) is higher than those from the two adjacent cored wells ([Formula: see text]). This difference in porosity partly caused by differences in the clay mineral content implies that in the fluvial-deltaic-lacustrine depositional environment, reservoir quality can vary significantly in a short distance. Owing to the uneven distribution of the sample set from proximal to distal area, we mainly evaluate variations in the proximal setting. Results from nitrogen-gas adsorption experiments show that there are four distinct patterns of pore-size distribution within the Chang 7 member of the Yanchang Formation with no particular correlation with mineralogical composition and thermal maturity. The pore network within Chang 7 mudstones is dominated by OM-hosted pores, with a lesser abundance of interparticle and intraparticle pores. The size distribution of mineral-hosted pores within these mudstones is found to be closely related to the rock texture (sorting and grain size) and fabric. Mudstones with well-sorted grains and a higher percentage of coarser grains have more abundant mineral pores. The sizes of OM-hosted pores in these compaction-dominated lacustrine mudstones were one to two orders of magnitude smaller than those in the marine mudstones that display abundant early cementation.
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Ramesh, Dr S. "The Everlasting Resonance of Omkaram: From Ancient Chants to Modern Significance." Journal of Humanities,Music and Dance, no. 36 (October 31, 2023): 18–22. http://dx.doi.org/10.55529/jhmd.36.18.22.
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This article delves into the timeless significance of Omkaram in the contemporary world. Omkaram, also known as "Om," holds a sacred place in Hinduism as the primordial sound that birthed the universe. Its historical origins, spiritual depth, and multi-dimensional relevance are explored in the context of modern spirituality, scientific inquiry, cultural unity, and philosophical contemplation.
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DU, JIANGMIN, YANDE ZHAO, QINGCHUN WANG, et al. "Geochemical characteristics and resource potential analysis of Chang 7 organic-rich black shale in the Ordos Basin." Geological Magazine 156, no. 07 (2018): 1131–40. http://dx.doi.org/10.1017/s0016756818000444.
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AbstractThe Ordos Basin is the largest and most important intracontinental sedimentary depression in China, and a significant amount of crude oil resources has developed within this Mesozoic formation. High-grade organic-rich shale is prevalent in the large-scale areas of the Chang 7 sedimentary stage and provides essential hydrocarbon resources for abundant oil enrichment in the Mesozoic. This research investigated the geochemical characteristics of Chang 7 shale using core samples and well logs and via laboratory tests. In addition, the microscopic components of the shale organic matter (OM), biological marker compounds, carbon isotopes, enrichment grade of trace elements, and elemental ratio were analysed systematically. Moreover, the aspects related to the shale OM source, sedimentary environment and resource potential were evaluated. Our results revealed that spherical alginate and calcium spherical alginate were predominant in the micropetrological components of the shale. Many biomarkers, including n-alkanes, steranes and terpanes, were detected in the gas chromatography – mass spectrometry spectra. An analysis of n-alkanes, regular sterane shapes (C21−/C22− and C26+C27/C28+C29), odd–even predominance index (OEP) and carbon preference index (CPI) values and carbon isotope distributions showed that OM was produced from aquatic organisms. The indicators of trace elements, such as Sr/Ba and V/V+Ni, combined with the biomarker compound in Pr/Ph and the gammacerane index showed the presence of a semi-deep – deep lake environment containing fresh–brackish water. In addition, the hydrocarbon conversion rate index and shale rock pyrolysis parameters revealed that Chang 7 has a high hydrocarbon generation ability and hydrocarbon expulsion efficiency.
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Zhao, Yonggang, Chunyu Zhang, Jungang Lu, Xingcheng Zhu, Lei Li, and Shanghua Si. "Sedimentary Environment and Model for Organic Matter Enrichment: Chang 7 Shale of Late Triassic Yanchang Formation, Southern Margin of Ordos Basin, China." Energies 15, no. 8 (2022): 2948. http://dx.doi.org/10.3390/en15082948.
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Shale oil is an unconventional oil resource that needs to be developed and utilized urgently. However, the Chang 7 shale in the Ordos Basin, as the most typical continental source rock in China, is limited by the study of organic matter (OM) enrichment factors in continental lacustrine facies, and there are still controversies about the controlling factors, which limit the progress of oil and gas exploration. This paper aims to reconstruct the paleoenvironment of Chang 7 shale in the southern margin of Ordos Basin and reveal the controlling factors of organic rich shale by organic and elemental analysis, X-ray diffraction (XRD) analysis, thin section observation, and scanning electron microscopy-energy dispersive spectrometer (SEM-EDS) analysis. The results show that during the deposition period of Chang 7 shale, the climate was warm and humid, the lake water has strong reducing, low salinity and rapid depth changes. Total organic carbon (TOC) is positively correlated with salinity and hydrothermal action and inversely proportional to terrigenous input. The high productivity, low consumption and low dilution result in high enrichment of shale OM in the southern margin of Ordos Basin.
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Liu, Dunqing, Hongkui Ge, Yinhao Shen, and Kui Zhang. "Experimental Investigation on Organic Matter Orientation Characteristics of Terrestrial and Marine Shale in China." Geofluids 2021 (April 7, 2021): 1–21. http://dx.doi.org/10.1155/2021/8895350.
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As an essential component in shale, OM (organic matter) grains and their arrangements may play essential roles in affecting the anisotropy of the reservoir. However, OM grains are commonly treated as an evenly distributed isotropic medium in current studies, and few works have been done to investigate their detailed arrangement characteristics. In this study, terrestrial and marine shale samples were collected from three different shale plays in China, and the arrangement characteristics of OM grains in each sample were investigated by SEM (scanning electron microscope) image analysis. The results indicate that OM grains in shale are not evenly distributed in isotropic medium, and their directional alignment is pervasive in both marine and terrestrial shale. OM grains in shale tend to subparallel to the bedding section, and their orientation degree and controlling factors differ among different shales. OM grains in samples from terrestrial C-7(Chang-7 Formation) exhibit the strongest directionality in their arrangement, and OM grains in samples from marine LMX (Longmaxi Formation) shale in the Fuling area also exhibit strong directional alignment. While in samples from marine LMX shale in the Baojing area, their directional alignment is much weaker. Shales with high clay content, high TOC (total organic carbon), low thermal maturity, and flat reservoir structure get more OM grains parallel to the bedding section. The biogenetic texture of graptolite in marine LMX shale is the dominating factor leading to the strong directional alignment of the OM grains. However, syncline structure may disorganize the preformed directional alignment and weaken the directionality of the OM grains, which results in the OM arrangement difference between LMX samples from Fuling and Baojing. While the compaction of the layered clay particles is the dominating mechanism leading to the strong directional alignment of the OM grains in terrestrial shale samples from C-7.
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Fredriksson, Christine. "Datorn i skolans tyskundervisning ur ett elevperspektiv – Om svenska gymnasieelevers syn på datormedierad kommunikation och lärandet." Forskning om undervisning och lärande, no. 11 (December 17, 2013): 5–29. http://dx.doi.org/10.61998/forskul.v1i11.27589.
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I artikeln presenteras resultat från en pilotstudie om svenska gymnasieelevers användning av datorer i tyskundervisningen. Syftet var att ta reda på hur eleverna upplever chattkommunikation som inlärningsverktyg, jämfört med muntliga samtal. Resultatet visar att båda kommunikationsformer upplevdes att ha väckt elevers vilja att kommunicera på tyska och ha utvecklat medvetenhet om det egna lärandet. Eleverna i chattgruppen var dock överlag mer positiva och mer medvetna om interaktionsformens positiva effekt på lärandet, än eleverna i samtalsgruppen. Detta tyder på att modaliteterna och interaktionserbjudanden i chatt verkar kunna ge bättre förutsättningar för att elever ska kunna utveckla kommunikativ kompetens i tyska. Studien visar också att eleverna efter experimentet använder sina datorer i väldigt liten utsträckning i sin tyskundervisning. Ett behov av en riktad pedagogisk insats för att ändra elevernas datoranvändning, och för att både eleverna och läraren ska bli involverade i utvecklingsprocessen, har identifierats.
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Peng, Kuo-Ti, Tsung-Yu Huang, Yao-Chang Chiang, et al. "Comparison of Methicillin-Resistant Staphylococcus aureus Isolates from Cellulitis and from Osteomyelitis in a Taiwan Hospital, 2016–2018." Journal of Clinical Medicine 8, no. 6 (2019): 816. http://dx.doi.org/10.3390/jcm8060816.
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Methicillin-resistant Staphylococcus aureus (MRSA) causes superficial infections such as cellulitis or invasive infections such as osteomyelitis; however, differences in MRSA isolates from cellulitis (CL-MRSA) and from osteomyelitis (OM-MRSA) at the same local area remain largely unknown. A total of 221 MRSA isolates including 106 CL-MRSA strains and 115 OM-MRSA strains were collected at Chang-Gung Memorial Hospital in Taiwan between 2016 and 2018, and their genotypic and phenotypic characteristics were compared. We found that OM-MRSA isolates significantly exhibited higher rates of resistance to multiple antibiotics than CL-MRSA isolates. Genotypically, OM-MRSA isolates had higher proportions of the SCCmec type III, the sequence type ST239, and the spa type t037 than CL-MRSA isolates. Besides the multidrug-resistant lineage ST239-t037-SCCmecIII more prevalent in OM-MRSA, higher antibiotic resistance rates were also observed in several other prevalent lineages in OM-MRSA as compared to the same lineages in CL-MRSA. Furthermore, when prosthetic joint infection (PJI) associated and non-PJI-associated MRSA strains in osteomyelitis were compared, no significant differences were observed in antibiotic resistance rates between the two groups, albeit more diverse genotypes were found in non-PJI-associated MRSA. Our findings therefore suggest that deep infections may allow MRSA to evade antibiotic attack and facilitate the convergent evolution and selection of multidrug-resistant lineages.
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Hughes, Amy L., David Roberson, Cassandra Bannos, Emily K. Trudell, and Louis Vernacchio. "Appropriateness of Tympanostomy Tubes in the Boston Metropolitan Area: Are the AAO-HNSF Guidelines Being Met?" Otolaryngology–Head and Neck Surgery 157, no. 6 (2017): 1041–47. http://dx.doi.org/10.1177/0194599817721454.
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Introduction Otitis media (OM) is the most common reason children receive general anesthesia, with bilateral tympanostomy tube (TT) insertion the second most common surgery in children. Prior research suggests overuse of TT. As part of a project designed to improve appropriateness of OM referrals, we evaluated appropriateness of TT insertion in a patient cohort. Methods Patients younger than 9 years with initial otolaryngology (ORL) visits in academic and private office settings for OM from January 1, 2012, to August 31, 2013, were identified through claims database. A detailed retrospective chart review of patients undergoing TT insertion was performed to determine appropriateness of TT insertion per the 2013 American Academy of Otolaryngology—Head and Neck Surgery Foundation (AAO-HNSF) guidelines. Results A total of 120 patients undergoing TT insertion were randomly chosen for detailed chart review; 32 patients were excluded. Sixty-six (75%) of 88 patients available for analysis met AAO-HNSF guidelines for TT. Recurrent acute OM with middle ear effusion was the most common indication (56%). Other indications included chronic OME and TT in at-risk patients with speech, learning, or behavioral delays. Of the 22 patients undergoing TT insertion not meeting AAO-HNSF guidelines, 11(50%) had abnormal exams, but were 1 to 2 infections short of meeting guidelines; 7 (33%) had normal exams but met criteria for number of infections. Discussion Contrary to prior publications, 75% of patients undergoing TT insertion had an appropriate indication per AAO-HNSF guidelines. In only 5% was TT insertion a substantial departure from guidelines. Implications for Practice The study outcomes suggest appropriate clinical decision making, improved guideline adherence, and better guideline applicability from the previously published 1994 and 2004 guidelines.
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Гаевская, А. Н. "Act on the Last Judgment in the Sacred Space of the Assumption Cathedral of the Moscow Kremlin." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 40–71. http://dx.doi.org/10.26156/om.2023.15.2.003.
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В работе рассматривается одна из ярких социосимволических практик, значимых для религиозной и политической жизни Москвы XVII века, — литургическое Действо о Страшном суде, совершавшееся в пространстве Успенского собора Московского Кремля в Неделю мясопустную. В этот исторический период Действо о Страшном суде явилось максимально полным воплощением эсхатологической тематики в литургической жизни столицы. Этапы формирования Действа, появившегося в Новгороде на волне эсхатологических ожиданий в преддверии 1492 года, отражены в соборных Чиновниках XVI–XVII вв. Автор статьи исследует чинопоследование в сакральном пространстве Успенского собора как перформативную икону, доказывая, что решающее значение в процессе формировании единого иеротопического контекста Действа принадлежит песнопениям чина и их связи с фреской «Страшный суд», располагающейся на западной стене храма. В работе освещены драматургические принципы, объединяющие основные компоненты перформативной иконы: фреску и икону, ритуал, песнопения чина. Как показывает анализ, музыкальная драматургия Действа о Страшном суде играет решающую роль в создании пространственного образа, именно в песнопениях ярко и эмоционально раскрывается его эсхатологическая, панегирическая и доксологическая семантика. The work considers one of the brightest socio-symbolic practices of importance for the religious and political life of Moscow in the 17th century – the liturgical Act on the Last Judgment, which took place in the Assumption Cathedral of the Moscow Kremlin on Meatfare Week. During this historical period, the Act of the Last Judgment was the full embodiment of the eschatological theme in the liturgical life of the capital. The service had appeared in Novgorod at the end of the 15th — beginning of the 16th centuries on the wave of eschatological expectations on the eve of 1492. The author of the article includes the chanting of rites in the sacred space of the Assumption Cathedral as a performative icon, proving their crucial role in the process of the natural hierotopic context of Actions and their connection with the Last Judgment icon of the 14th century and the fresco with the same plot, located on the western wall of the cathedral. The work elucidates the dramaturgical principles that unite the main components of the performative icon into a single whole: fresco and icon, ritual, chants of the rank. According to the analysis, the musical dramaturgy of the Act of the Last Judgment plays a decisive role in revealing the violation of the way of life.
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Markham, Kelly C. "Improving Incidence of Referrals for Psychosocial and Spiritual Transdisciplinary Care in a Palliative Care Service: Focus on Brain Death." OMEGA - Journal of Death and Dying 67, no. 1-2 (2013): 155–60. http://dx.doi.org/10.2190/om.67.1-2.r.
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The goal of this project was to examine the uniformity of the hospital's delivery of psychosocial and spiritual care for the families of patients being evaluated for brain death. A retrospective chart review encompassing one calendar year was conducted. After conferring with physicians and staff, a strategy was developed to capture information on patients who were diagnosed with brain death. Following evaluation of the information gathered, a proposal was introduced and hospital procedure revised. Triggers were put in place to ensure consistent offering of psycho-spiritual transdisciplinary services to the families of patients who are undergoing evaluation for brain death.
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Наливаева, Е. Н. "The Truth is Out There: “Songs of Bukovina” by Leonid Desyatnikov as a Neoromantic Cycle." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 46–68. http://dx.doi.org/10.26156/om.2021.13.2.003.
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«Буковинские песни» Леонида Десятникова, написанные в 2017 году и вдохновленные фольклорными напевами,—продолжение традиции циклов прелюдий для фортепиано, заложенной в эпоху романтизма и активно развитой в дальнейшем. В статье делается попытка осмыслить сочинение как образец нео романтизма, констатировать неразрывную связь с прошлым, параллельно затраги вая особенности работы композитора с материалом. Большое внимание уделяется романтической идее синтеза: «Буковинским песням» свойственно сочетание несо четаемого, органичное соединение непохожего, разнопланового. Именно поэтому, анализируя цикл, автор статьи оперирует словами с приставкой «поли-»: поли форма, политоникальность, полиопорность, полиладовость, полигармония, поли метрия, полиритмия, политональность (ключевое «поли-» для самого Десятнико ва)—обобщающим для всех этих терминов становится понятие полисистемы. В буклете к диску «Буковинских песен» поэт Мария Степанова предпринимает «Двенадцать попыток заговорить» о фортепианных прелюдиях Десятникова. Дан ная статья, в сущности, представляет собою тринадцатую, музыкантскую и музы коведческую, попытку начать разговор о цикле. Подробный потактовый анализ «Буковинских песен» не входит в задачи этой работы; перед автором, скорее, стоит цель показать ведущий принцип организации материала в рассматриваемом сочи нении. Наиболее детально анализируются Прелюдии I, II, XIII, XV, XIX. Leonid Desyatnikov’s “Songs of Bukovina” written in 2017 inspired by folk chants is a continuation of piano prelude tradition founded in the age of romanticism and actively developed later. This article is an attempt to comprehend Desyatnikov’s work as an example of neoromanticism, to find the inextricable connection to the past all while looking at distingushing features of the composer's way of working over the material. Special attention here is paid to the romantic idea of synthesis. “Songs of Bukovina” is a combination of uncombinable, an organic conjunction of dissimilar, different. That's why in this article the author often uses words that begin with the prefix “poly-”, such as polyform, polytonicality, polymodality, polyharmony, polyrhythm, polytonality (the most important word to Desyatnikov himself) etc., which are hyponyms to the term of polysystem. In the Booklet to “Songs of Bukovina” CD, poet Maria Stepanova makes “Twelve attempts to start speaking” of Desyatnikov’s piano preludes. This article is, in fact, yet another, 13th attempt made by a musician to speak of this cycle. The goal of this work is not to provide a bar by bar analysis of the “Songs of Bukovina” but to show the main principle according to which the material is organized. The author will take the closest look at Preludes I, II, XIII, XV, XIX.
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Макарова, А. В. "Stylistic Features of Works for Choir A Cappella by Dmitry Smirnov on the Example of Choir Concerto “Insomnia”." OPERA MUSICOLOGICA, no. 2021 (September 15, 2021): 38–57. http://dx.doi.org/10.26156/om.2021.13.3.003.
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В творчестве современного петербургского композитора Дмитрия Валентиновича Смирнова (р. 1952) хоровые сочинения занимают особое место. В жанровом отношении именно концерт для хора представляет собой своеобразное «зеркало» творческого поиска композитора. Начиная с ранних сочинений начала 1980-х годов («Приявший мир», «Рождение крыла», Концерт для хора на стихи Н. Некрасова) и вплоть до созданного в 2006 году цикла «Набоковские песнопения» многочастные композиции хоровых концертов играли ключевую роль в процессе становления и постепенного усложнения хорового письма автора. Хоровой концерт «Бессонница» (1986) открывает новый этап в творчестве композитора. В этот период происходит окончательное формирование устойчивой системы стилистических особенностей музыкального языка; композитор обращается к созданию сложных многочастных композиций для хора a cappella. К данному периоду можно отнести такие сочинения, как Концерт для хора на стихи И. Анненского «Кипарисовый ларец», Концерт для хора на стихи О. Мандельштама «Я рожден в девяносто четвертом, я рожден в девяносто втором…» и «Молитвословия» из Литургии Св. Иоанна Златоуста. Сочинения указанного периода отличает многоуровневая смысловая полифоничность, которая находит свое отражение в усложнении драматургии цикла и значительном расширении комплекса музыкально-выразительных средств композиторского письма. Таким образом, происходит окончательное формирование основных стилистических особенностей хорового языка Дмитрия Смирнова. Choral works occupy a special place in the work of the contemporary Petersburg composer Dmitry V. Smirnov (born 1952). In terms of genre, it is the concert for choir that is a kind of “mirror” of the composer’s creative search. Beginning with the early compositions of the early 1980s (“The One Who Accepted the World”, “Birth of Wing”, Concerto for Choir on poems by Nikolay Nekrasov) and up to the cycle “Nabokov’s chants”, multi-movement compositions of choral concerts played a key role in the formation and gradual complication of the author's choral writing. The choir concerto “Insomnia” (1986) opens a new stage in the composer’s work. This is a period of final formation of a stable system of stylistic features of the musical language; the composer turns to creation of complex multi-movement compositions for a cappella choir. This period includes such compositions as Concerto for Choir on the poems of Innokentiy Annensky “Cypress Casket”, a Concerto for Choir on the verses of Osip Mandelstam “I was born in the ninety-fourth, I was born in the ninety-second...” (1989) and “Prayers” from the Liturgy of St. John Chrysostom (1992). The works of this period are distinguished by multilevel semantic polyphony, which is reflected in complication of the cycle's drama and a significant expansion of the complex of musical and expressive means of composer writing. Thus, the final formation of the main stylistic features of the choral language of Dmitry Smirnov takes place.
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Zhao, Zhongying, Lianhua Hou, Xia Luo, et al. "Heat-Induced Pore Structure Evolution in the Triassic Chang 7 Shale, Ordos Basin, China: Experimental Simulation of In Situ Conversion Process." Journal of Marine Science and Engineering 11, no. 7 (2023): 1363. http://dx.doi.org/10.3390/jmse11071363.
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The reservoir properties of low–medium-maturity shale undergo complex changes during the in situ conversion process (ICP). The experiments were performed at high temperature (up to 450 °C), high pressure (30 MPa), and a low heating rate (0.4 °C/h) on low–medium-maturity shale samples of the Chang 7 Member shale in the southern Ordos Basin. The changes in the shale composition, pore structure, and reservoir properties during the ICP were quantitatively characterized by X-ray diffraction (XRD), microscopic observation, vitrinite reflectance (Ro), scanning electron microscopy (SEM), and reservoir physical property measurements. The results showed that a sharp change occurred in mineral and maceral composition, pore structure, porosity, and permeability at a temperature threshold of 350 °C. In the case of a temperature > 350 °C, pyrite, K-feldspar, ankerite, and siderite were almost completely decomposed, and organic matter (OM) was cracked into large quantities of oil and gas. Furthermore, a three-scale millimeter–micrometer–nanometer pore–fracture network was formed along the shale bedding, between OM and mineral particles and within OM, respectively. During the ICP, porosity and permeability showed a substantial improvement, with porosity increasing by approximately 10-times and permeability by 2- to 4-orders of magnitude. Kerogen pyrolysis, clay–mineral transformation, unstable mineral dissolution, and thermal stress were the main mechanisms for the substantial improvement in the reservoir’s physical properties. This study is expected to provide a basis for formulating a heating procedure and constructing a numerical model of reservoir properties for the ICP field pilot in the Chang 7 shale of the Ordos Basin.
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Гирфанова, М. Е. "The Small Imitation Form in the Sacred Chorale Concertos by Samuel Scheidt." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 107–19. http://dx.doi.org/10.26156/om.2020.12.5.007.
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Известный немецкий теоретик музыки XVII века Вольфганг Каспар Принц в труде „Historische Beschreibung der edelen Sing- und Kling-Kunst“ («Историческое описание благородного искусства вокальной и инструментальной музыки», 1690) назвал Генриха Шютца, Иоганна Германа Шейна и Самуэля Шейдта тремя лучшими композиторами их времени в Германии. Композиторское письмо двух из упомянутых Принцем персон, Шейна и Шейдта, остается малоизученным в отечественном музыкознании. В статье рассматривается малая имитационная форма в хоральных концертах Шейдта из собрания „Geistliche Concerte“ («Духовные концерты»), четыре части которого были опубликованы в 1631, 1634, 1635 и 1640 годах. Тридцатилетняя война (1618–1648), непосредственно коснувшаяся Шейдта, стала причиной обращения композитора к разновидности вокального духовного концерта для небольшого состава, включающего несколько вокальных голосов (в концертах Шейдта это, как правило, три партии) и бассо континуо. Исследуются тексто-музыкальные единицы, образующиеся на основе строки или сегмента строки хорала и становящиеся материалом для имитации, раскрываются особенности имитационной техники, выявляется связь свободной части малой имитационной формы с типом обработки — Cantionalsatz, типологизируются структуры, различающиеся порядком поступления материала строки в малую имитационную форму. В конце статьи прослеживаются изменения, которые претерпевает малая имитационная форма в хоральных концертах по сравнению с хоральными мотетами из первого собрания вокальной музыки Шейдта “Cantiones sacrae” («Священные песнопения», 1620). The famous German music theorist of the 17th century, Wolfgang Caspar Printz, in his work „Historische Beschreibung der edelen Sing- und Kling-Kunst“ (“Historical Description of the Noble Art of Vocal and Instrumental Music”, 1690) named Heinrich Schütz, Johann Hermann Schein and Samuel Scheidt as the three best composers of their time in Germany, the compositional technique of two of them, Schein and Scheidt, remaining poorly studied in Russian musicology. The article examines the small imitation form in Scheidt’s chorale concertos from the „Geistliche Concerte“ (“Sacred Concertos”) collection, four parts of which were published in 1631, 1634, 1635 and 1640. The Thirty Years’ War (1618–1648), which directly affected Scheidt, caused the composer to turn to a kind of vocal sacred concerto for a small cast, including few voices (in Scheidt’s concertos, these are, as a rule, three parts) and basso continuo in the organ. The textual-and-musical units that are formed on the basis of a chorale line or a segment of a line and become the material for imitation are investigated; the features of the imitation technique are revealed; a connection of the free part with the type of arrangement — Cantionalsatz, is established, mapping the structures that differ in the order in which the line material arrives in the small imitation form. At the end of the article, the changes are traced that the small imitation form has undergone in chorale concertos in comparison with chorale motets from Scheidt’s first collection of vocal music “Cantiones sacrae” (“Sacred chants”, 1620).
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Монич, М. Л. "Contrapuntal Probes As a Special Type of a Music Manuscript." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 57–82. http://dx.doi.org/10.26156/om.2021.13.1.003.
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В середине 1870-х — начале 1880-х годов С. И. Танеев, воодушевленный идеей поиска «русского стиля», активно пополняет теоретические знания в области контрапункта и практикуется в полифонической работе с национальным мелодическим материалом: песенным фольклором и православными церковными напевами. В результате этой деятельности появляются многочисленные рукописи с контрапунктическими опытами, направленными не только на самообучение, но и на создание музыкальных произведений. Материалом для настоящей статьи стали документы указанного периода творчества композитора — черновые автографы к неоконченному циклу хоровых обработок причастных стихов и к Увертюре на русскую тему, хранящиеся в архиве Государственного мемориального музыкального музея-заповедника П. И. Чайковского в Клину. Танеев работает с напевами причастных стихов и трех песен «Про татарский полон» особым образом: многократно и последовательно испытывает каждый сегмент мелодии различными видами контрапунктической техники, в результате чего получает обширный комплект в основном имитационных, но также неимитационных построений и построений, совмещающих оба вида. Для своего времени танеевский метод и порождаемый им графический текст достаточно специфичны. Подобный тип рукописей предлагается обозначить термином контрапунктические пробы. Ориентируясь на форму, скрепленную полифонической техникой, композитор создает текст, имеющий сходство с уже атрибутированными в отечественной музыкальной текстологии образцами композиционных рукописей: набросками, эскизами, черновиками, учебными работами. Тем не менее, танеевские штудии принципиально от них отличаются и нуждаются в более точном описании и определении. In the mid 1870-s — beginning of 1880-s Sergey Taneev, inspired by the idea of the “Russian style,” began to replenish his theoretical knowledge in the field on counterpoint and to practice polyphonic writing based on national melodic material: folk songs and Orthodox church chants. These studies resulted in numerous manuscript fragments, the purpose of which was not just self-training but there were also drafts for future pieces. The article is based on the documents from this period, including the drafts for unfinished choir arrangements of communion verses and an Overture on the Russian Theme, from the archive of Pyotr I. Tchaikovsky’s Museum in Klin. The way Taneev works with the melodies of the communion verses as well as the songs “About the Tatar Captivity” is very particular: he tries each segment of the melody multiple times consistently applying different types of contrapuntal technique; this resulted in a large set of imitative and non-imitative fragments as well as fragments in which both types of polyphony are combined. For Taneev’s time, such a method and the generated graphic text are unique. We would suggest introducing a term contrapuntal probes to describe it. These texts, determined by the polyphonic forms and techniques, are in many ways similar to the drafts, sketches, and exercises by Taneev which have already been thoroughly examined by Russian specialists. However, there are also essential differences, which implies a more precise and specific description and classification.
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Srivastava, Nagendra Lal. "Book Review: The System of Tourism Development Planning in Nepal (An Integrated Approach)." Economic Literature 11 (May 9, 2016): 67. http://dx.doi.org/10.3126/el.v11i0.14870.
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<p><em>The System of Tourism Development Planning in Nepal (An Integrated Approach)</em>, by Prof. Dr. Om Sharma. Kathmandu: Nawaraj Pandey, Ananda Chand and Saraswati Sharma, 2012. Pages 280 (including Bibliography, Index and Appendices). Price: NRs 300.</p><p><strong>Economic Literature,</strong> Vol. XI (67-68), June 2013 </p>
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Silva, Wilma Emanuela, João Paulo Guimarães Soares, Jenevaldo Barbosa Silva, et al. "Organic and conventional management in a Parda Alpina dairy goat production system in northeastern Brazil." Semina: Ciências Agrárias 36, no. 5 (2015): 3189. http://dx.doi.org/10.5433/1679-0359.2015v36n5p3189.
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<p>In this study, we compared organic and conventional management in a dairy goat production system in Angicos, Rio Grande do Norte, Northeastern Brazil. Twenty-six Parda Alpina dairy goats were used: 13 in organic management (OM) and 13 in conventional management (CM). The experimental design was completely randomized with two treatments and 13 repetitions. OM practices included estrus synchronization with the “male effect,” an herbal-based treatment against endoparasitoses (an extract of lemon [<em>Citrus limonum</em>] and garlic [<em>Allium sativum</em>]) and the control of mastitis using the Embrapa Kit for manual milking with a rosemary pepper (<em>Lippia sidoides</em>) tincture. CM animals received synthetic hormones (Promone®, Prolise®, and Novormon®) for synchronization of estrus, ivermectin for endoparasitoses, and iodized alcohol for mastitis prevention aided by the Embrapa Kit for manual milking. No significant differences were observed between the management types in the pregnancy rate, FEC, FAMACHA© (Faffa Malan Chart) scores, physico-chemical composition of the milk, or somatic cell count (SCC). Both OM and MC had pregnancy rates of 61.54%. The mean values of the egg counts observed in the OM and CM were 24 and 35 eggs g-1, respectively. The FAMACHA© scores were 1 or 2 and 2, 3, or 4 in OM and CM, respectively. The goats had average weights in OM of 48.53 kg and in CM of 55.92 kg. Milk production, fat, protein, lactose, total solids, and nonfat solids in OM (0.971 kg/day, 2,210, 2,322, 3,306, 7,866, 5,566, respectively) were slightly higher than those in CM (0.946 kg/day, 1,812, 1,812, 2.868, 6.74, 4.928). OM (904,860 cells/mL) and CM (1.02052 million cells/mL) SCC values were similar, with the OM within the acceptable range for milk goats. Organic management was equivalent to conventional management for weight gain, maintenance of animal health standards, reproductive and sanitary control, and milk quantity and quality, and is technically suitable for a dairy goat production system in semiarid conditions.</p>
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Oster, Gerry, Montserrat Vera-Llonch, Colleen Ford, John Lu, Irina Khazanov, and Stephen Sonis. "Oral Mucositis (OM) and Outcomes of Autologous (AU) Hematopoietic Stem Cell Transplantation (HSCT) Following High-Dose Melphalan (MP) Conditioning for Multiple Myeloma (MM)." Blood 106, no. 11 (2005): 1343. http://dx.doi.org/10.1182/blood.v106.11.1343.1343.
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Abstract Background. OM is a common toxicity of conditioning regimens for HSCT that has been associated with adverse clinical and economic outcomes. Methods. A retrospective chart review study of ~400 consecutive HSCT recipients was undertaken at a single academic center. OM severity was assessed across eight oropharyngeal sites using a validated scale which was scored as follows: no erythema/ulceration = 0; erythema only = I; ulceration one site = II; two sites = III; three sites= IV; and four or more sites = V. OM assessments began on the day of conditioning and continued bi-weekly until hospital discharge. Outcomes of interest included number of days of fever, total parenteral nutrition (TPN), and parenteral narcotic therapy, incidence of grade III or IV (Common Toxicity Criteria) infection, and inpatient days and charges. We report data here for the 115 MM patients in the study cohort who underwent AU HSCT after high-dose MP conditioning. Results. Mean age was 54 yrs. Seventeen percent of patients received total body irradiation. Bone marrow was the source of most grafts. Forty-eight percent of patients experienced OM ≥ grade II. The relationship between worst recorded grade of OM and each of the outcomes of interest is reported below. Conclusions. OM is associated with worse clinical and economic outcomes in MM patients undergoing AU HSCT following high-dose MP conditioning. Outcomes of AU HSCT following high-dose MP conditioning for MM, by worst recorded grade of OM Worst Grade of OM (N=115) 0 I II III IV V *mean, SD; **test for linear trend; Cochran-Armitage for dichotomous measures, GLM for continuous measures Outcome n=37 n=23 n=24 n=15 n=8 n=8 -value p Fever days* 1.2 (2.8) 2.5 (3.1) 2.1 (2.3) 1.9 (1.4) 3.0 (2.1) 3.6 (6.2) 0.057 TPN days* 0.0 (0.0) 0.1 (0.4) 0.0 (0.0) 0.0 (0.0) 0.0 (0.0) 2.3 (6.0) 0.003 Narcotic days* 1.5 (3.1) 4.7 (3.8) 4.6 (4.4) 4.4 (3.7) 7.9 (3.3) 9.9 (7.4) <0.001 Infection, % 51.4 73.9 62.5 80.0 100.0 75.0 0.014 Mortality, % 0.0 0.0 4.2 0.0 0.0 12.5 0.085 Inpatient days* 18.6 (3.4) 21.0 (3.5) 19.6 (3.6) 19.7 (2.3) 23.3 (2.4) 23.4 (5.6) <0.001 Inpatient charges* (x 1,000 USD) 119 (36) 130 (35) 118 (25) 121 (28) 141 (31) 184 (92) <0.001
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Masarova, Lucia, Naval Daver, Naveen Pemmaraju, et al. "Does Occurrence of Other Malignancy after Essential Thrombocythemia and Polycythemia Vera Influence Their Rate of Transformation to Myelofibrosis?" Blood 126, no. 23 (2015): 5189. http://dx.doi.org/10.1182/blood.v126.23.5189.5189.
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Abstract Introduction: Other malignancies (OM) were reported to be increased in patients with essential thrombocythemia "ET" and polycythemia vera "PV". However, the effect of coexistent OM on the rate of disease transformation to myelofibrosis "MF" is unknown. Objective: To determine the occurrence of OM in patients with ET and PV and their influence on transformation rate to overt MF. Methods: Fisher's exact test, and Mann-Whitney test were used to compare categorical and continuous variable, respectively. Control group without OM matched for age, MPN diagnosis type and year was created to compare transformation rates, expressed by Kaplan-Meier curve and Log rank test. Results: We perform a retrospective chart review for 783 patients referred to our institution between years 1960 - 2013 with diagnosis of Philadelphia-negative myeloproliferative neoplasm "MPN", of which 256 had ET, 165 PV and 362 post ET- or post PV- MF. Overall, 107 (13.7%) patients had OM prior to MF transformation, accounting for total of 125 cases. See table for OM types and distribution. In total, 9 patients had more than 1 OM with the most common being prostatic carcinoma (n=6), melanoma (n=4) and renal cell carcinoma (n=2). Relapsed/refractory OM were noticed in 15 patients, 3 of these had recurrence only prior MPN. None of alive patients with refractory OM experienced progression after MF transformation. Median age at diagnosis of MPN and OM (59 and 62 years), median age at the time of first event (OM or MPN; 51 and 53 years), and male to female ratio (1:1) were similar. Time to secondary OM was shorter than time to secondary MPN (6.5 vs 9 years, p>0.05). After median follow up of 30 months (range, 1-150), 49 (46%) patients had died. Eleven (23%) patients died because of OM progression, most commonly due to lung carcinoma and melanoma. No MPN related deaths were observed, however, 2 patients progressed to acute leukemia. Median overall survival "OS" for MPN was 160 months (range, 1-240) and was not different for patients with and without MF (212 and 173 months; p>0.05). No significant differences were detected between patients with and without MF in terms of age at the time of MPN diagnosis, gender, MPN characteristics (cytogenetic, molecular mutations) or time between OM and MPN. However, patients who transformed to MF were older at the time of OM (53 vs 59 years, p= 0.041, 95% CI: 1.2-11.7). Similarly, within a group of MF, patients with OM prior to MPN were younger at the time of OM (53 vs 62 years, p<0.001, 95%CI 5.0-23.5) and older at the time of MPN (67 vs 55 years, p=0.001, 95%CI 8.3-19.4) that patients who had OM after previous MPN. Overall time to transformation to MF was similar between ET and PV, and between studied cohort and control group (6 years, range 0.5-29, p>0.05, chi square 1.14). However, patients who developed OM after MPN had longer time to transformation (14 years, range 1-36, p=0.011, HR 1.9, 95%CI of 1.3 -4.4), which remained significant when control group was added, p=0.024 [Fig.] Conclusions: OM diagnosed after ET or PV does not seem to influence rate of disease transformation to MF. Table. ET/PV, n=421 ET/PV -> MF, n= 362 OM characteristics OM prior MPN, n OM after MPN, n OM prior MPN, n OM after MPN, n No. of patients with OM 29 26 19 33 No. of OM 30 26 26 43 Breast 5 4 ( 1*) 2 (1*) 3 Female reproductive 5 1 4 Prostate 7 1 6 (1*) 14 (1*) Gastrointestinal tract 2 4 6 3 Genitourinary tract 3 (1*) 4 2 Lungs 1 3 (3*) Melanoma 3 (1*) 2 4 9 (1*) Soft tissue 1 2 (1*) 1 Thyroid 3 2 (1*) 1 2 Head and neck 1 (1*) Hematologic malignancy 3 5 (1*) 6 (1*) (*) stands for relapsed or refractory disease Disclosures Pemmaraju: Stemline: Research Funding; Incyte: Consultancy, Honoraria; Novartis: Consultancy, Honoraria, Research Funding; LFB: Consultancy, Honoraria. Cortes:Pfizer: Consultancy, Research Funding; Teva: Consultancy, Research Funding; BMS: Consultancy, Research Funding; Novartis: Consultancy, Research Funding; ARIAD Pharmaceuticals Inc.: Consultancy, Research Funding.
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Ab-Samat, Hasnida, and Shahrul Kamaruddin. "Development of opportunistic maintenance policy towards optimal maintenance system (OPTOMS) model." Journal of Quality in Maintenance Engineering 26, no. 1 (2019): 129–65. http://dx.doi.org/10.1108/jqme-07-2018-0057.
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Purpose Opportunistic maintenance (OM) policy is a prospective maintenance approach that instigates for a more effective and optimized system. The purpose of this paper is to provide the steps and methods used in model development processes for the application of the OM policy. Design/methodology/approach Dubbed as opportunistic principle toward optimal maintenance system (OPTOMS) for OM policy toward optimal maintenance system, the model is devised as a decision support system model and contains five phases. The motivation and focus of the model resolve around the need for a practical framework or model of maintenance policy for the application in an industry. In this paper, the OPTOMS model was verified and validated to ensure that the model is applicable in the industry and robust as a support system in decision making for the optimal maintenance system. Findings From the verification steps conducted in a case study company, it was found that the developed model incorporated simple but practical tools like check sheet, failure mode and effect analysis (FMEA), control chart that has been commonly used in the industry. Practical implications This paper provides the general explanations of the developed model and tools used for each phase in implementing OM to achieve an optimal maintenance system. Based on a case study conducted in a semiconductor company, the OPTOMS model can align and prepare the company in increasing machine reliability by reducing machine downtime. Originality/value The novelty of this paper is based on the in-depth discussion of all phases and steps in the model that emphasize on how the model will become practical theories in conducting an OM policy in a company. The proposed methods and tools for data collection and analysis are practical and commonly used in the industry. The framework is designed for practical application in the industry. The users would be from the Maintenance and Production Department.
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M. Egitia Zaini, Jilan Rifa Fauziah, Angelica Meilani Rika Dwi Kusuma, et al. "Perancangan Ulang Tata Letak untuk Pengoptimalisasian Ruang pada Bebeke Om Aris Dramaga Kota Bogor." Lokawati : Jurnal Penelitian Manajemen dan Inovasi Riset 2, no. 3 (2024): 214–26. http://dx.doi.org/10.61132/lokawati.v2i3.890.
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In the era of increasingly rapid globalization, the industrial world is faced with inevitable dynamics. One important aspect in industry is optimal layout planning. The right layout determines the effective placement of production facilities, thereby smoothing the production process and increasing productivity. The current layout of production facilities at Bebeke Om Aris Dramaga is not optimal, causing production inefficiencies and increased costs. This research aims to redesign the layout of facilities at Bebeke Om Aris Dramaga. This research examines the design of alternative layouts at Bebeke Om Aris Dramaga with the aim of increasing productivity. The methods used are Activity Relationship Chart (ARC) and Total Closeness Rating (TCR). Production location calculations are carried out periodically to obtain accurate information. The research results show that the proposed layout has shorter distances between facilities. Apart from that, the resulting service time is more optimal. This change in store layout shows that the new layout is more effective and efficient than the old layout. This is proven by research results which show that the new layout design can reduce the time spent by employees in the production process and service to customers and the distance between facilities and increase the efficiency of employee movement.
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Vera-Llonch, Montserrat, Gerry Oster, Colleen Ford, John Lu, Irina Khazanov, and Stephen Sonis. "Oral Mucositis (OM) and Outcomes of Allogeneic (AL) Hematopoietic Stem Cell Transplantation (HSCT) in Patients with Hematologic Malignancies." Blood 106, no. 11 (2005): 3126. http://dx.doi.org/10.1182/blood.v106.11.3126.3126.
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Abstract Background. OM is a common toxicity of conditioning regimens for HSCT that has been associated with adverse clinical and economic outcomes. Methods. A retrospective chart review study of ~400 consecutive HSCT recipients with hematologic malignancies was undertaken at a single academic center. OM severity was assessed across eight oropharyngeal sites using a validated scale which was scored as follows: no erythema/ulceration = 0; erythema only = I; ulceration one site = II; two sites = III; three sites= IV; and four or more sites = V. OM assessments began on the day of conditioning and continued bi-weekly until hospital discharge. Outcomes of interest included number of days of fever, total parenteral nutrition (TPN), and parenteral narcotic therapy, incidence of Grade III or IV (Common Toxicity Criteria) infection, and inpatient days and charges. We report data here for the 281 AL HSCT recipients in the study cohort. Results. Mean age was 41 yrs. Most common diagnoses were acute (33%) and chronic (19%) myeloid leukemia. Most patients (96%) received total body irradiation. Fifty-one percent of grafts were from unrelated donors. Seventy-six percent of patients experienced OM ≥ grade II. The relationship between worst recorded grade of OM and each of the outcomes of interest is reported below. Conclusions. OM is associated with worse clinical and economic outcomes in patients with hematologic malignancies undergoing AL HSCT. Outcomes of AL HSCT in patients with hematologic malignancies, by worst recorded grade of OM Worst Grade of OM (N=281) 0 I II III IV V Outcome n=34 n=33 n=70 n=60 n=43 n=41 -value p *mean, SD; **test for linear trend; Cochran-Armitage for dichotomous measures, GLM for continuous measures Fever days* 3.1 (3.0) 4.8 (4.4) 5.3 (4.9) 5.7 (4.7) 5.9 (4.7) 7.3 (4.6) <0.001 TPN days* 6.7 (7.2) 7.7 (7.8) 8.8 (7.8) 10.2 (7.8) 13.2 (7.2) 14.0 (6.2) <0.001 Narcotic days* 7.6 (6.3) 10.8 (5.0) 10.7 (7.4) 11.5 (5.1) 14.0 (6.8) 17.2 (5.0) <0.001 Infection (%) 85.3 90.9 92.9 93.3 100.0 100.0 0.002 Mortality (%) 8.8 3.0 8.6 15.0 7.0 22.0 0.042 Inpatient days* 28.1 (8.8) 30.3 (10.6) 34.5 (15.1) 32.7 (14.5) 35.9 (10.4) 42.4 (15.1) <0.001 Inpatient charges* (x 1,000 USD) 214 (102) 252 (156) 313 (251) 280 (198) 305 (140) 437 (233) <0.001
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Cao, Yan, Zhijun Jin, Rukai Zhu, and Kouqi Liu. "The influence of extraction of various solvents on chemical properties on Chang 7 shale, Ordos Basin, China." Solid Earth 14, no. 11 (2023): 1169–79. http://dx.doi.org/10.5194/se-14-1169-2023.
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Abstract. To explore the effect of various solvents extraction on the chemical property of shale, several lacustrine shale samples from the Chang 7 member of the Upper Triassic Yanchang Formation, Ordos Basin, with maturities, from marginally mature (Tmax=439∘) to late mature (Tmax=456∘), were extracted by using acetone, tetrahydrofuran (THF), carbon disulfide (CS2), and benzene, respectively. Fourier transform infrared spectroscopy (FTIR) was employed to examine the functional groups of the samples before and after extraction with different solvents. The results showed that the extraction yield from shale with THF is significantly higher than that of other solvents, which may be related to the properties of the THF, including the aromatic structure, high boiling point, excellent Hansen solubility parameters, and strong polarity. The total organic carbon (TOC)-normalized yield of the mature sample J1 is significantly higher than that of other samples, which may be related to the fact that the J1 sample is at the peak of hydrocarbon generation; thus, a large number of kerogens were cracked into oil and bitumen. The aromaticity of organic matter (OM) increases with the increase in the maturity. The length of the aliphatic chains of the OM first increased with the increase in the maturity before late maturity stage and then decreased in late maturity stage. The extraction of shale samples with solvents hardly changes the length of aliphatic chains. Higher aromaticity is observed in shale residues after THF extractions than for other solvents (i.e., acetone, CS2, and benzene).
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Лобкова, Г. В. "To the Reader." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 6–9. http://dx.doi.org/10.26156/om.2022.14.1.001.
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В специальном выпуске журнала раскрываются актуальные проблемы современной отечественной и зарубежной этномузыкологии. Настоящее издание включено в программу мероприятий Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова, посвященных Году культурного наследия народов России. В журнале представлены результаты исследований сотрудников, преподавателей, аспирантов, выпускников Московской и Санкт-Петербургской консерваторий, Российской академии музыки имени Гнесиных, Воронежского института искусств, Университета святых Кирилла и Мефодия (Скопье). На протяжении десятилетий в этих образовательных организациях ведется интенсивная деятельность в сфере собирания и изучения музыкального фольклора силами таких структур, как Научный центр народной музыки имени К. В. Квитки, Фольклорно-этнографический центр имени А. М. Мехнецова, Музыкально-этнографический центр имени Е. В. Гиппиуса, Институт фольклора имени Марко Цепенкова. В фондах этих подразделений сосредоточены многие тысячи уникальных экспедиционных аудио- и видеозаписей народных песен, инструментальной музыки, жанров устной словесности, хореографии, которые составляют «золотой запас» нематериального культурного наследия различных народов. В последние годы угроза утраты традиций народной культуры становится все более острой. В связи с этим исследователи столкнулись с необходимостью разработки алгоритмов доступа к документальным источникам, цифровизации фольклорно-этнографических материалов, их включения в сеть Интернет, создания общедоступных порталов, специализированных на различных аспектах актуализации фольклорного наследия. Формы и опыт такой работы в зарубежных странах (Норвегии, Италии, Македонии) представлены в статьях А. Остапенко, И. Тепловой, Р. Величковской. Не менее важной является задача обработки и введения в научный оборот документальных данных, полученных в ходе фольклорных экспедиций разных лет. Такая работа базируется на тщательном изучении каждого образца, требует системного подхода, применения методов типологического исследования, картографирования, историко-стилевой оценки. Конечные цели связаны с созданием фольклорно-этнографического атласа России, с одной стороны, и восстановлением очагов бытования ярких самобытных явлений народной культуры, с другой. В статье И. Никитиной характеризуются мужские певческие традиции Русского Севера; Л. Белогурова и Ю. Журавлева раскрывают особенности свадебных напевов Рязанской области; Г. Сысоева обобщает информацию о весенних песнях южнорусской традиции; исследование А. Косых связано с религиозными песнопениями духоборцев, в основе которых обнаруживаются тексты русских духовных стихов. Тема «фольклор и композитор» представлена в журнале исследованием М. Иоанну и И. Поповой: в статье впервые публикуются подлинные мелодии, которые были использованы Н. Скалкотасом в сюите «36 греческих танцев». В разделе журнала «Документы» перед читателем раскрываются картины истории этномузыкологии. Стенограмма доклада Ф. А. Рубцова, содержание которого затрагивает одну из краеугольных, до сих пор нерешенных научных проблем, позволяет «услышать» живую речь выдающегося ученого. Еще более выразительными по своей эмоциональной достоверности оказываются письма В. И. Харькова и К. В. Квитки, касающиеся чрезвычайно сложных ситуаций их жизни. Публикация документов предваряется статьями Е. Редьковой и Е. Битеряковой, подготовивших рукописи к изданию. A special issue of the magazine reveals current problems of the modern domestic and foreign ethnomusicology. This publication is included in the program of events of the Saint Petersburg Rimsky-Korsakov State Conservatory dedicated to the Year of Cultural Heritage of the Peoples of Russia. The magazine presents the results of the research by employees, teachers, graduate students, graduates of the Moscow and St. Petersburg Conservatories, the Gnesin Russian Academy of Music, the Voronezh Institute of Arts, and the University of Saints Cyril and Methodius (Skopje). These educational organizations have been conducting intensive activity in the field of collecting and studying music folklore for decades, engaging such structures as the Klyment Kvitka Folk Music Research Center, the Anatoliy Mekhnetsov Folklore and Ethnographic Center, the Yevgeniy Gippius Music and Ethnographic Center, and the Marco Tsepenkov Institute of Folklore. The archives of these units contain many thousands of unique expeditionary audio and video recordings of folk songs, instrumental music, genres of oral literature and choreography, which constitute the “golden reserve” of the intangible cultural heritage of various peoples. The threat of loss of traditions of folk culture has become more acute in recent years, which compels researchers to develop algorithms for accessing documentary sources, provide digitalization of folklore and ethnographic materials placing them in the Internet, create public portals specializing in various aspects of actualization of folklore heritage. The forms and experience of such work in foreign countries (Norway, Italy, Macedonia) are presented in articles by A. Ostapenko, I. Teplova, R. Velichkovska. The task of processing and introducing the documentary data obtained during folklore expeditions of different years into scientific circulation is also important. Such work is based on a thorough study of each sample and requires a systematic approach, use of typological research methods, mapping, historical and style assessment. The goal is not only to create a folklore-ethnographic atlas of Russia, but also to restore the forms of existence of original phenomena of the folk culture. Male singing traditions of the Russian North are characterized in the article by I. Nikitina; L. Belogurova and Yu. Zhuravleva describe the features of wedding singing in the Ryazan region; G. Sysoeva summarizes information about spring songs of the South Russian tradition; A. Kosykh studies religious chants of the Dukhobors based on the texts of Russian spiritual verses. The theme “folklore and composer” is presented in the article by M. Ioannou and I. Popova, the genuine melodies used by N. Skalkottas in the suite “36 Greek Dances” being published for the first time. The stages of the history of ethnomusicology are disclosed to the reader in the section “Documents”. The transcript of the report of F. Rubtsov, which covers one of the fundamental, though still unresolved scientific problems, allows you to “hear” a live speech of the outstanding scientist. Even more expressive in their emotional veracity are the letters of V. Khar’kov and K. Kvitka regarding extremely difficult situations of their lives. The section opens with articles by E. Redkova and E. Biteryakova, who prepared manuscripts for publication.
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Cutler, Corey, Shuli Li, Haesook T. Kim, et al. "Oral Mucositis Incidence and Severity after Methotrexate and Non-Methotrexate Containing GVHD Prophylaxis Regimens." Blood 104, no. 11 (2004): 351. http://dx.doi.org/10.1182/blood.v104.11.351.351.
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Abstract Oral mucositis (OM) occurs in up to 75% of recipients of high-dose chemoradiotherapy conditioning regimens prior to allogeneic hematopoietic stem cell transplantation (HSCT). OM affects patient quality of life by causing oropharyngeal pain, and by impairing communication and swallowing. As a result, narcotic analgesia and total parenteral nutrition (TPN) are commonly required in the recovery period after HSCT. Methotrexate (MTX), an antiproliferative agent used as GVHD prophylaxis, impairs mucosal regeneration after conditioning-related injury, and worsens and prolongs OM. We assessed the impact of sirolimus, a novel immunosuppressive agent used in lieu of MTX for GVHD prophylaxis, on outcomes associated with OM. Methods: Two cohorts of patients were prospectively analyzed for OM severity, and chart reviews were performed to assess correlative outcomes. All patients underwent HLA-matched sibling PBSC transplantation after Cy-TBI conditioning. GVHD prophylaxis consisted of sirolimus/tacrolimus (ST) in the study group and tacrolimus/methotrexate (TM) in the control group. OM was assessed 3x/week using a prospectively validated 6-point assessment tool, by members of the Oral Medicine Service. At each assessment, the evaluators systematically evaluated for the presence of erythema and ulceration of the oral mucosa at nine pre-defined locations within the oral cavity. The use of narcotics and TPN was recorded from the time of transplantation to hospital discharge. Results: 30 patients received ST and 24 patients received TM as GVHD prophylaxis after HLA-matched PBSCT between 10/2000 and 5/2003. The two groups were balanced for demographic variables, including age, sex, and disease status at transplant. OM severity was reduced in the ST group. Mild, moderate and severe OM was noted in 37, 57 and 7% of the ST group and 8, 42 and 50% of the TM group (p=0.0002). As a result, TPN use was reduced in the ST group (17 vs. 43% of hospital days, p=0.02), and a higher proportion of subjects required no TPN in the ST group (47 vs. 21%, p=0.08). The total number of hospital days where narcotics were required for pain control was lower in the ST group in comparison with the TM group (14 vs. 16 days median, p = NS). The time from transplant to first hospital discharge was shorter in the ST group compared with the TM group (18 vs. 22 days median, p= 0.07) Conclusions: The use of ST for GVHD prophylaxis is associated with less severe oropharyngeal mucositis than TM, despite equivalent conditioning regimen intensity. As a result, TPN use was reduced, narcotic use was reduced and the duration of hospitalization was shortened. The use of less toxic GVHD regimens without MTX may have significant impact on patient quality of life, patient outcomes and economic outcomes associated with allogeneic stem cell transplantation.
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Fan, Yunpeng, Zhanyu Zhang, Xinping Zhou, et al. "Occurrence Characteristics of Chang 7 Shale Oil from the Longdong Area in the Ordos Basin: Insights from Petrology and Pore Structure." Processes 11, no. 11 (2023): 3090. http://dx.doi.org/10.3390/pr11113090.
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Organic geochemistry experiments, X-ray diffraction (XRD), field emission scanning electron microscopy (FE-SEM), N2 adsorption, CO2 adsorption, and two-dimensional nuclear magnetic resonance (2D NMR) were performed on ten Chang 7 shale samples (Longdong area, Ordos Basin) to elucidate their pore structure and the characteristics of oil occurrence. Moreover, the factors influencing free oil were discussed, and an occurrence model was established. FE-SEM analysis reveals that the pore types include interparticle pores, intraplatelet pores within clay aggregates, rare fracture pores, and organic matter (OM) pores. The pores are predominantly slit-shaped. The development of micropores was mainly contributed to by OM. Quartz and clay minerals influence the development of macropores and mesopores, feldspar mainly controls macropore development, and pyrite most strongly affects micropore development. Micropores and mesopores constitute the main total pore specific surface area, while mesopores and macropores are the main contributors to the total pore volume. Pores > 2 nm are the main storage spaces for shale oil, and free oil mainly occurs in pores > 20 nm. Adsorbed oil and free oil were assessed by NMR T1–T2 mapping. The adsorbed oil signal intensities range from 7.5–23.4 a.u. per g of rock, and the free oil signal intensities range from 4.4–23.2 a.u. per g of rock. The free oil proportions are 15.9–70.6% (average of 44.2%). The free oil proportion is negatively correlated with the clay mineral content and total organic carbon (TOC) content but positively correlated with the saturated hydrocarbon content and volume of pores > 20 nm. The results of this study could help optimize favorable shale oil target areas.
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Dubey, Abhay. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3390.
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In India, music is believed to be as eternal as God. Before the creation of the world —it existed as the all-pervading sound of "Om" —ringing through space. Brahma, the Creator, revealed the four Vedas, the last of which was the Sama Veda —dealing with music.Vedic hymns were ritualistic chants of invocation to different nature gods. It is not strange therefore to find the beginnings of Hindu music associated with Gods and Goddesses. The mythological heaven of Indra, God of Rain, was inhabited by Gandharvas (singers), Apsaras (female dancers) and Kinnaras (instrumentalists). Saraswati, Goddess of Music and Learning, is represented as seated on a white lotus playing on the Veena. The great sage Narada first brought the art to earth and taught it to men.
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Balder, Rachel, Jonathan Hassel, Serena Lipski, and Eric R. Lafontaine. "Moraxella catarrhalis Strain O35E Expresses Two Filamentous Hemagglutinin-Like Proteins That Mediate Adherence to Human Epithelial Cells." Infection and Immunity 75, no. 6 (2007): 2765–75. http://dx.doi.org/10.1128/iai.00079-07.
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ABSTRACT Two-partner secretion (TPS) systems are a family of proteins being rapidly identified and characterized in a growing number of gram-negative bacteria. TPS systems mediate the secretion of proteins, many involved in virulence traits such as hemolysis, adherence to epithelial cells, inhibition of bacterial growth, and immunomodulation of the host. A TPS system typically consists of a transporter located in the bacterial outer membrane (OM) which is responsible for the recognition and secretion of at least one large exoprotein. Two of the better-characterized TPS systems specify the Bordetella pertussis FHA and Haemophilus influenzae HMW1/HMW2 proteins. We identified three gene products of Moraxella catarrhalis strain O35E that resemble TPS proteins and designated them MhaC (transporter), MhaB1 (exoprotein), and MhaB2 (exoprotein). Western blot analysis using anti-MhaC, or antibodies reacting to both MhaB1 and MhaB2 (MhaB-reactive), revealed that these antigens are expressed in the OM of 63% of isolates tested. Mutations in the mhaC gene specifying the putative transporter of the M. catarrhalis wild-type strains O35E, O12E, and McGHS1 resulted in the absence of MhaB1/MhaB2 in the OM of mutants. These results are therefore consistent with the Mha proteins functioning as a TPS system. Furthermore, we discovered that these mhaC mutants exhibit markedly decreased binding to human epithelial cells relevant to pathogenesis by M. catarrhalis (Chang, HEp2, A549, and/or 16HBE14o−). Expression of O12E MhaC and MhaB1 in a nonadherent strain of Escherichia coli was found to increase the adherence of recombinant bacteria to HEp2 monolayers by sevenfold, thereby demonstrating that this M. catarrhalis TPS system directly mediates binding to human epithelial cells. The construction of isogenic mutants in the mhaB1 and mhaB2 genes of strain O35E also suggests that the MhaB proteins play distinct roles in M. catarrhalis adherence.
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Persson, Marcus, and Christian Ståhl. "Sociologisk Forskning ger ut sin 60:e årgång!" Sociologisk Forskning 60, no. 2 (2023): 121–23. http://dx.doi.org/10.37062/sf.60.25480.
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I äktenskapssammanhang brukar jämna årsfiranden kläs i någon form av materialistisk symbolik, ju högre siffra desto ädlare och mer statusfylld materia. Siffran 60 förknippas vanligtvis med diamanter, som är en symbol för det okrossbara och det exceptionella tålamodet. Oavsett om det handlar om äktenskap eller om tidskrifter är det ingen självklarhet att uppnå 60 år, och detta är därför något att uppmärksamma och fira. När nu ger ut sin 60:e årgång vill vi rikta tacksamma och stolta tankar mot alla de sociologer som under åren haft ansvaret att verka för svensk sociologi och upprätthålla en nationell sociologisk tidskrift. Periodvis har det ekonomiska läget varit svårt för tidskriften, ibland har det varit svårt att rekrytera redaktionsmedlemmar såväl som granskare, och inte sällan har det saknats gott manusunderlag. Vissa av problemen kvarstår – redaktionen behöver fortfarande flera inskickade bidrag – men liksom våra företrädare kämpar vi på för att vi anser att tidskriften är en viktig fackla för svensk sociologi. I samband med tidskriftens femtioårsjubileum 2013 återpublicerades tre artiklar från tidigare årgångar som har haft betydelse för svensk sociologi- och kunskapsutveckling, skrivna av Hans L Zetterberg, Walter Korpi och Rita Liljeström. Under 2014 blickade tidskriften återigen bakåt för att kunna reflektera över sociologins tillstånd i Sverige. Den gången fick en skara sociologiprofessorer skriva om sin akademiska resa och gärning. I detta jubileumsnummer vill vi rikta blicken mot samtiden och framtiden, som en intressant fortsättning på tidigare jubileumsnummer, med reflektioner över ämnets historia och utveckling. Bland annat har vi bjudit in juniora sociologer att diskutera hur sociologin, i form av forskning, undervisning och samhällsengagemang, kan bidra till förståelsen av vår samtid. Under ledning av Lisa Ferm genomfördes en gruppintervju med Mattis Karlsson, Johanna Köpsén, Isa Norvell Gustavsson, Josefin Persdotter, Jon Sunnerfjell och Emanuel Wittberg. Det blev ett engagerat samtal om sociologins potential att hjälpa människor att tolka och förstå sin omvärld, till exempel genom att låta sociologiska perspektiv genomsyra undervisningen redan i skolans tidiga år. Vidare diskuteras sociologins väsen, identiteten som sociolog och ämnets utmaningar. Sammantaget präglas samtalet av en tro på och passion för sociologiämnets värde, både vad gäller dess bredd och dess djup. Därutöver har flera hörsammat utlysningen för numret och bidragit skriftligt med personliga reflektioner om sociologiämnets roll i ett vidare sammanhang och i anslutning till antingen forskning, utbildning eller samhällsdebatt. Bidragen har genomgått en redaktionell granskning med syftet att helheten ska spegla en mångfacetterad och samtida sociologi. Josef Ginnerskov skriver om hur sociologi lärs ut och därigenom vad sociologi är. Han reflekterar kring sociologins institutionalisering och hur ämnets självbild utvecklats genom åren. Sociologin har ofta blivit krisförklarad. Likväl fortsätter ämnet att läras ut och beforskas. Ginnerskov drar paralleller mellan hur sociologiämnet utvecklats och hur det åskådliggjorts för andra genom undervisning. På detta sätt knyts ämnesdidaktik samman med ämnesidentitet, vilket han diskuterar med hjälp av begreppet sociologididaktik. Anna Engstam skriver ett upprop för en ”öppen sociologi” – en sociologi driven av det lilla men ack så viktiga prefixet ”för”. Hon diskuterar betydelsen av förmågan till för-reflexivitet och förvetenskapliga impulser som ett grundelement i det sociologiska tänkandet och görandet. Texten uppmuntrar läsaren att för stunden våga sjunka ner under ytan av fastslagna metodologiska standarder och teoretiska modeller och förnimma det kreativa teoretiserandet. I samma anda skriver Colm Flaherty om en ”nyfiken sociologi”. Mot bakgrund av den personliga erfarenheten att som student upptäcka sociologins tjusning diskuterar han den sociologiska visionen att professionellt och nyfiket utforska samhället och samtidens olika sociala problem. Framförallt lägger han stor vikt vid det sociologiska görandet, då den kan väcka nyfikenhet och sporra till reflexivet hos andra människor och därigenom även bidra till att påverka samhället. Patrik Aspers skriver om den humboldtska andan att förena forskning och undervisning och om varför det tycks vara så svårt att berika de båda elementen genom korsbefruktning. Utifrån egna erfarenheter, från Sverige och utomlands, skriver han om strukturella och kulturella svårigheter att förverkliga det humboldtska idealet, men också̊ om de visioner och goda ambitioner som behövs för att skapa ett livskraftigt ämne. Den uppmärksamme läsaren tänker: Patrik Aspers är väl inte en junior sociolog! Nej det är han givetvis inte. Aspers är professor och har bjudits in till detta nummer som representant för tidskriftens redaktionsråd att reflektera kring temat för numret. Och han är inte den ende seniora sociologen i sammanhanget. Till vår stora glädje kan vi också presentera två intervjuer med internationellt erkända sociologer: professor Eva Illouz och professor Hartmut Rosa. Eva Illouz har under många år utforskat känslornas strukturella betydelse i samhället. I flera böcker har hon problematiserat teman som kärlek och relationer i vår samtida konsumtionskultur. Illouz är aktuell med en ny bok om populismens känsloliv, som kom ut på engelska i somras (och som kommer i svensk översättning nästa år). Därmed tar hon sig an en helt annan typ av känslor än tidigare, närmare bestämt rädsla, avsky och förbittring. I denna intervju fick Poul Poder och Marcus Persson en exklusiv möjlighet att samtala med Illouz om nya boken och hennes tankar om den populistiska samtidens känslor som frodas i såväl politiska rum som i sociala medier. Därmed kretsar samtalet kring hur samtidens stora frågor och känslor hänger samman, och hur vi bör känna, och tänka, för att odla det goda demokratiska samhället. Hartmut Rosa har etablerat sig som en av samtidens mest uppmärksammade sociologer genom sina böcker om social acceleration och resonans. Hans senaste bok är en sociologisk analys av heavy metal. I samband med en föreläsning vid Göteborgs universitet i mars 2023 fick Carl Cassegård, Karl Malmqvist och Christian Ståhl tillfälle att genomföra en intervju som kom att röra sig kring ämnen som sociologin och dess framtid, kritisk teori, klimatförändringar samt möjligheten till en resonant demokrati. Utifrån sitt begrepp resonans resonerar han kring vikten av ett lyssnande och tillitsfullt samhälle med människor som känner att de besitter en politisk egenförmåga för att undkomma populism och främlingsfientlighet. Det finns ett hundratal sociologiska tidskrifter på engelska men bara en på svenska. I ”förbundet har ordet” skriver Åsa Lundqvist, Åsa Wettergren och Ylva Wallinder om utmaningarna, men också̊ om fördelarna, med en svensk sociologisk tidskrift i en era av internationalisering. Att skriva på svenska för en svensk publik kan vara kreativt och lustfyllt – intellektuellt och språkligt – och dessutom gynna spridningen av forskning både i undervisning och i samhällsdebatt. Numret innehåller också recensioner av nya böcker och avhandlingar: Miguel A. Martínez recension av Elton Chans avhandling; Johan Alfonssons recension av Kohei Saitos bok Marx in the Anthropocene; samt Jonas Bååths recension av Michael Carolans The Sociology of Food and Agriculture. Sammantaget bjuder vi på en mix av reflekterande texter med ambitionen att sporra till tankar och fortsatta diskussioner om sociologins roll i samhället och dess förmåga att ta sig an samtidens utmaningar. Trevlig läsning! Marcus Persson och Christian Ståhl Redaktörer för Sociologisk Forskning