Relevant bibliographies by topics / Op.37

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Op.37'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Op.37"

1

Blair, Deborah N., and Phyllis J. Kornguth. "37 MAMMOGRAPHIC FINDINGS OP SCLEROSING ADENOSIS." Investigative Radiology 21, no. 9 (September 1986): S10. http://dx.doi.org/10.1097/00004424-198609000-00055.

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Sciera, Lucca, Saima Basit, Jan Wohlfahrt, Anne-Marie Nybo Andersen, and Heather Boyd. "OP 37 Familial co-aggregation of preeclampsia and cardiovascular disease." Pregnancy Hypertension: An International Journal of Women's Cardiovascular Health 9 (July 2017): 26. http://dx.doi.org/10.1016/j.preghy.2017.07.060.

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Costamagna, G., A. Tringali, V. Pern, M. Mutignani, A. Gabbrielli, and L. Petruzziello. "37 OP Treatment of Zenker's diverticulum using a flexible endoscope." Digestive and Liver Disease 34 (June 2002): A10. http://dx.doi.org/10.1016/s1590-8658(02)90038-1.

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Yoshikawa, Keisuke, Motoi Kuwahara, Miyuki Morikawa, Yuta Fukumoto, Masaki Yamana, Yuko Yamagishi, and Susumu Kusunoki. "Varied antibody reactivities and clinical relevance in anti-GQ1b antibody–related diseases." Neurology - Neuroimmunology Neuroinflammation 5, no. 6 (September 11, 2018): e501. http://dx.doi.org/10.1212/nxi.0000000000000501.

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ObjectiveTo investigate the relationship between antibody reactivities against glycolipid complexes and clinical features in Miller Fisher syndrome (MFS), Bickerstaff brainstem encephalitis (BBE), and Guillain-Barré syndrome with ophthalmoplegia (GBS-OP).MethodsUsing glycoarray, antibodies against 10 glycolipid antigens (GM1, GM2, GM4, GD1a, GD1b, GQ1b, galactocerebroside, lactosylceramide, GA1, and sulfatide) and 45 glycolipid complexes consisting 2 of the glycolipids were examined in the sera of 63 patients with GBS-OP, 37 patients with MFS, and 27 patients with BBE.ResultsAntibodies to antigens containing GQ1b were identified in 73% of patients with GBS-OP (46/63), 86.5% of patients with MFS (32/37), and 74.1% of patients with BBE (20/27), and GD1b-related antibodies were identified in 49.2% of patients with GBS-OP (31/63), 29.7% of patients with MFS (11/37), and 11.1% of patients with BBE (3/27). Comparing clinical features between patients with GBS-OP with and without both antibodies, the proportion of patients requiring artificial ventilation and presenting moderate or severe muscle weakness was higher in the positive group than in the negative group (p = 0.017 and p = 0.046, respectively).ConclusionsAntibodies binding to antigens containing GD1b and to those containing GQ1b may be involved in the development of limb weakness and respiratory failure in anti-GQ1b antibody–related diseases.
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Mason, H. J., E. Waine, A. Stevenson, and H. K. Wilson. "Aging and Spontaneous Reactivation of Human Plasma Cholinesterase Activity After Inhibition by Organophosphorus Pesticides." Human & Experimental Toxicology 12, no. 6 (November 1993): 497–503. http://dx.doi.org/10.1177/096032719301200606.

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The in vitro rates of aging and spontaneous reactivation of human plasma cholinesterase (ChE) after inhibition by several organophosphorus pesticides (OPs) have been studied. After inhibition by OP the enzyme can undergo two simultaneous reactions; spontaneous reactivation to the active enzyme and 'aging' to an irreversibly inhibited form of the enzyme. The rates of these two reactions depend on the nature of the phosphoryl group of the OP bound to the active site of ChE. Most OPs registered for use in the UK have dimethoxy or diethoxy groups attached to the phosphorus atom. Reaction rate constants for aging and spontaneous reactivation are reported. Dimethoxy OPs cause half-lives of aging in human plasma ChE of approximately 6 hours and 23 hours at 37°C and 22°C respectively; for diethoxy OPs the values are 12 hours and 39 hours. Reappearance of enzyme activity, after removal of OP, reduced any inhibition by a maximum of 25% for dimethoxy OPs; this reappearance of enzyme activity occurs with a 'half-life' of 5 hours and 15 hours at 37°C and 22°C. These effects, both in vivo and ex vivo, may have relevance in developing a monitoring strategy for dimethoxy OPs using plasma ChE measurements. Inhibition by diethoxy OPs spontaneously reactivates very slowly, even at 37°C, and would not practically influence the measured inhibition. No spontaneous reactivation was detected in human plasma ChE inhibited by the methoxy-ethylamino substituted OP (propetamphos) or the methoxy-methylamino substituted OP (crufomate) during 45 hours incubation at 37°C.
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Штром, А. А. "On Tone-Painting Elements of Music Language in Vocal Chamber Music by Nikolai Medtner." Музыкальная академия, no. 1(769) (March 29, 2020): 14–23. http://dx.doi.org/10.34690/32.

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Целью данной статьи является рассмотрение камерно-вокального творчества Н. К. Метнера с точки зрения живописности и звукоизобразительности. Автор вступает в полемику с критиками начала XX века, которые воспринимали метнеровскую музыку как бескрасочную и лишенную колорита. Опираясь на высказывания самого композитора в его книге «Муза и мода», проводя исполнительский анализ как фортепианной, так и вокальной партий романсов, автор статьи высвечивает звуковой образ метнеровского творчества с позиции звукописи: раскрывает звукоизобразительные элементы в фактуре таких романсов, как «Арион» op. 36 № 6, «Песнь ночи» op. 45 № 3; демонстрирует неистощимость композиторской фантазии в ритмической организации нотного текста в романсах «Телега жизни» op. 45 № 2 и «Священное место» op. 46 № 2, в повторяющихся ритмоформулах («Тишь на море» op. 15 № 7), в создании такта высшего порядка - сложного образования из тактов разного размера, расположенных друг за другом в определенной последовательности («Сумерки» op. 24 № 4), в реализации поэтического образа через лейтфактуру («Бессонница» ор. 37 № 1). В заключение статьи автор дает примеры тонкого использования как правой, так и левой педали, помогающих воплощать в музыке образы, связанные с колористической задачей. The aim of the paper is to consider vocal chamber music by N. Medtner in relation to picturesqueness and tone-painting. The author enters the debate with music critics of the beginning of the 20th century, who perceive Medtner’s music as lacking colours, i. e. non-coloristic. To confute this opinion the author refers to the composer’s statements given in his book “Muse and Fashion” and also undertakes the analyses of Medtner’s pieces from the standpoint of tone-painting. Such analyses allows to highlight pictorial elements in the texture of “Arion” (Op. 36 No. 6) and “Night Song” (Op. 45 No. 3) and to demonstrate the inexhaustibleness of the composer’s fantasy in rhythmic organization of “The Cart of Life” (Op. 45 No. 2) and “Sacred Place” (Op. 46 No. 2), in inventing iterative rhythmic formulas in “Calm Sea” (Op. 15 No. 7), in forming of “higher-order bar” — a complex unity of bars with different time-signatures placed one after another in definite succession (“Twilight” Op. 24 No. 4), in realization of poetical image by means of leit-texture (“Vigilance” Op. 37 No. 1). In conclusion the author gives examples of exquisite coloristic use of both pedals by Medtner.
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Wheatley-Price, Paul, Boming Yang, Demetris Patsios, Devalben Patel, Clement Ma, Wei Xu, Natasha Leighl, et al. "Soluble Mesothelin-Related Peptide and Osteopontin As Markers of Response in Malignant Mesothelioma." Journal of Clinical Oncology 28, no. 20 (July 10, 2010): 3316–22. http://dx.doi.org/10.1200/jco.2009.26.9944.

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Purpose In malignant mesothelioma (MM), radiologic assessment of disease status is difficult. Both soluble mesothelin-related peptide (SMRP) and osteopontin (OP) have utility in distinguishing MM from benign pleural disease. We evaluated whether SMRP and OP also correlated with the disease course of MM. Patients and Methods Serial plasma samples from patients with MM were prospectively collected, and SMRP and OP levels were measured. Radiologic tests across time periods showing disease progression, stability, or shrinkage were compared with corresponding changes in SMRP/OP levels. Results From 41 patients, 165 samples were collected (range, 2 to 10; median 4). At study entry, 37 of 41 patients had measurable disease, of whom 92% (34 of 37) had elevated baseline SMRP levels; four of 41 patients had no evidence of recurrence and each had normal baseline SMRP levels. In 21 patients receiving systemic therapy, percentage change in SMRP more than 10% correlated with the radiologic assessment by a trained thoracic radiologist (P < .001), by formal Response Evaluation Criteria in Solid Tumors (RECIST; P = .008), or by modified RECIST (P < .001). All seven patients who underwent surgical resection with negative margins had elevated preoperative SMRP levels that fell to normal postoperatively. Rising SMRP was observed in all patients with radiologic disease progression. No associations were found with OP. Conclusion Percentage changes in SMRP levels, but not changes in OP levels, are a potentially useful marker of disease course. These findings should be validated prospectively for a role as an objective adjunctive measure of disease course in both clinical trials and clinical practice.
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Veri, J. P., S. P. Pirani, and R. Claridge. "Crescentic Proximal Metatarsal Osteotomy for Moderate to Severe Hallux Valgus: A Mean 12.2 Year Follow-Up Study." Foot & Ankle International 22, no. 10 (October 2001): 817–22. http://dx.doi.org/10.1177/107110070102201007.

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The senior author's (R.C.) first 25 patients (37 feet) treated with a combination proximal crescentic osteotomy and distal soft-tissue reconstruction made up the patient cohort. All 25 patients were reviewed at a minimum of one year post-op (short-term follow-up) and 20/25 (31/37 feet) were reviewed again at a mean 12.2 years (range 11.4 to 13.0 yrs) post-op (long-term follow-up). This allowed for a comparison of short- and long-term results and led to a long-term follow-up rate of 84% (31/37 feet, mean 12.2 yrs). Clinical, radiographic and patient outcome measures were obtained and compared pre-op and at short- and long-term follow-up. The mean preoperative hallux valgus (HVA) and intermetatarsal angles (IMA) were 37° and 16° respectively. The mean HVA correction was 24° and IMA correction 10° at long-term follow-up with no tendency toward recurrence. Sesamoid position and first MTP subluxation was markedly improved postoperatively and the correction was maintained at long-term follow-up. Patients were asked about their satisfaction in terms of pain, appearance and motion. At long-term follow-up, more than 90% of patients were completely satisfied with pain and motion and greater than 80% with their appearance. Ninety-four percent of patients said they would have the operation again. The AOFAS clinical rating scale for the hallux was calculated retrospectively for pre-op and short-term follow-up and prospectively for long-term follow-up. The mean pre-op score was 37/100 (16 to 60) which significantly improved to 92/100 (67 to 100) at both follow-up periods, suggesting no evidence of decrease in outcome over time. Complications included two patients (5%) that were over-corrected into varus (one symptomatic, one asymptomatic), and four patients (11%) that were undercorrected, developing asymptomatic recurrences (>10° increase HVA) at long-term follow-up. In addition, two patients (5%) developed new transfer lesions postoperatively, likely related to technical error (one varus overcorrection, one dorsiflexion malunion). In conclusion, the long-term results, with a mean follow-up of 12.2 years, of the resection realignment procedure for moderate to severe hallux valgus are generally excellent and the complication rate is low and acceptable. Attention to detail, avoiding both undercorrection, which can lead to recurrence, and overcorrection, which can cause symptomatic varus, is essential.
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Turan, Semra, and Deniz Günal Köroğlu. "Oxidative stability of soybean oil enriched with ethyl acetate extract of olive by-products." Turkish Journal of Agriculture - Food Science and Technology 8, no. 6 (June 26, 2020): 1373–79. http://dx.doi.org/10.24925/turjaf.v8i6.1373-1379.3382.

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In this study, oxidative stability of soybean oil (SBO) enriched with ethyl ecetate extracts of olive by-products was investigated. Total phenolic contents, phenolic profiles and antioxidant activities of olive wastewater (OMWW) and olive pomace (OP) extracts were also determined. Total phenolic contents of extracts obtained from OMWW and OP were 134.45 and 281.43 mg gallic acid equivalent (GAE)/g extract, respectively. While antioxidant activities of OMWW extracts in the linoleic acid emulsion were in the range of 85.79 % and 88.54 %, OP extracts had 83.30 % and 90.09 % at different concentrations (0.5, 1, 2 ve 3 mg/mL) after incubation at 37 °C. β-carotene bleaching activities of the extracts at 50 °C were found as 26.80-66.63% in OMWW extracts and 18.76-53.32% in OP extracts, respectively. 2,2′-diphenyl-1-picrylhydrazyl (DPPH) radical scavenging activities of OP extracts were higher than those of OMWW extracts and ranged from 30.6% to 87.7% in OP extracts and 16.6% to 54.1% in OMWW extracts at these concentrations. Both the antioxidant and antiradical activities of extracts significantly increased with increased concentration (p
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Strehle, Elias, and Fred Steinmetz. "Dominating OP Returns: The Impact of Omni and Veriblock on Bitcoin." Journal of Grid Computing 18, no. 4 (December 2020): 575–92. http://dx.doi.org/10.1007/s10723-020-09537-9.

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AbstractBitcoin has always been used to store arbitrary data, particularly since Bitcoin Core developers added a dedicated method for data storage in 2014: the OP Return operator. This paper provides an in-depth analysis of all OP Return transactions published on Bitcoin between September 14, 2018, and December 31, 2019. The 32.4 million OP Return transactions (22% of all Bitcoin transactions) published during this period added 10 GB to the blockchain’s size. Almost all OP Return transactions can be attributed to one of 37 blockchain services. The two dominant services are Veriblock (58% of OP Return transactions) and Omni/Tether (40%). Veriblock transactions pay only 14% of the average transaction fee, partly because most of them are submitted during times when overall activity on Bitcoin is low. Omni transactions, on the other hand, pay more than twice the average transaction fee and therefore compete with regular Bitcoin transactions for inclusion in new blocks.
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Dissertations / Theses on the topic "Op.37"

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Halamová, Markéta. "F. V. Kramář a jeho koncerty F dur pro hoboj (Op. 37 a Op. 52), rozbor a interpretace." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96725.

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This magister´s theses is dealing with life of czech componist F. V. Krommer and his two concerts for oboe, they are detail analysed and their interpretation and problems, what you can meet during your study, are sketched here.
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Cardoso, Iury. "A adaptação para violão das 12 Danzas Españolas Op.37 de Enrique Granados através de novas propostas de scordature." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17042018-141816/.

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Este trabalho trata do processo de transcrição para violão solo das 12 Danzas Españolas Op. 37 de Enrique Granados, escritas originalmente para piano. Tal processo desenvolveu-se através da observação de versões para violão de outras obras originais para piano, comparações entre os recursos instrumentais específicos desses dois instrumentos e de um levantamento histórico, onde foram analisadas as principais problemáticas de adaptação dos elementos musicais e estéticos da obra original em um novo meio. A fim de contextualizar esse trabalho no panorama da transcrição, visitamos a história de Granados, analisando os aspectos gerais de suas Danzas Españolas, bem como discutimos a conceituação da scordatura para, a partir daí, empregar o método de pesquisa de diferentes possibilidades de afinação na busca de viabilizar a transcrição da obra em questão, sem perder de vista, durante esse processo, a ideia original do compositor. Através dos resultados alcançados, da maneira como compreendemos os métodos empregados, constatamos um amplo campo de possibilidades a serem pesquisadas e novas soluções de adaptação e scordature a serem empregadas, estabelecendo a prática da transcrição como um procedimento válido artisticamente, desde que devidamente contextualizado.
This work deals with the process of transcription for guitar solo of the 12 Danzas Españolas Op. 37 of Enrique Granados, written originally for piano. This process was developed through the observation of guitar versions of other original works for piano, comparisons between the specific instrumental resources of these two instruments and a historical survey, where the main problems of adaptation of the musical and aesthetic elements of the original work were analyzed in a new medium. In order to contextualize this work in the transcription panorama, we visit the history of Granados, analyzing the general aspects of its Danzas Españolas, as well as discussing the conception of the scordatura to, from there, to use the research method of different tuning possibilities in the seeking to make feasible the satisfactory assimilation of the work in question, without losing sight of, during this process, the original idea of the composer. Through the results obtained, as understood by the methods employed, we find a wide field of possibilities to be researched and new solutions of adaptation and scordature to be used, establishing the practice of transcription as an artfully valid procedure, provided that it is properly contextualized.
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Generalow, Alice. "The Orthodox Concert Stage: Performing Rachmaninoff's All-Night Vigil, Op. 37 in a Liturgical Style." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594557.

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The purpose of this study is to demonstrate that Sergei Rachmaninoff's All-Night Vigil, op. 37 can successfully be performed by choral ensembles in a liturgical style by careful selection and grouping of individual movements, along with the interpolation of other chants or musical settings traditionally used in the Russian Orthodox Church that are not part of the composer's original score. This would make the work more accessible to choirs and conductors that may otherwise not be inclined to program an unaccompanied work over seventy minutes in duration. Additionally, such performances would more accurately reflect the Russian liturgical performance practice history of the work as traced in this document. This document explores the history and form of the All-Night Vigil service, Rachmaninoff's exposure to the Orthodox Church, performance decisions made for the viva voce presentation portion of this document, and the performance history of Rachmaninoff's All-Night Vigil before and after the Russian Revolution.
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Borman, Lynnette. "Sea Pictures, Op. 37 by Sir Edward Elgar : a comprehensive guide for study and performance /." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1165340620.

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Fialová, Kristina. "Miklós Rózsa - život a dílo se zaměřením na Koncert pro violu a orchestr op.37." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178003.

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This thesis introduces biography of Hungarian, often overlooked, composer Miklós Rózsa and the focus is on his Concerto for Viola and orchestra op. 37. His biography is in nine chapters by life periods, chapter no. 10 is about his Concerto for Viola and orchestra op.37.
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Dorozhkina, Elena V. "A Performer's Guide to the First Two Movements of Pyotr Tchaikovsky's Grand Sonata in G Major, Opus 37." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc177192/.

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The Grand Sonata in G Major, Op.37, composed by Tchaikovsky, is a powerful large-scale composition and a piece of a symphonic scope. However, the sonata did not receive a desired acclaim in the modern repertoire partially due to an obvious lack of performance instructions in the existing editions, which makes the sonata challenging to perform. Thus, in order to reduce the technical challenges and to encourage more frequent performances of the sonata, this dissertation offers a performer's guide that addresses essential elements of pedal indications, phrasing and detailed dynamics, as well as suggestions on voice balancing, agogics, fingering, and hand redistribution. The guide consists of musical examples that are focused on the most challenging sections of the sonata, and is organized in the subsections according to a technique type proposed to facilitate a performance of the sonata. In addition to the examples on application of individual techniques presented in the main body of the dissertation, alternative and more elaborate versions of the suggestions are proposed in the appendices. The dissertation also provides a history of the sonata, and discusses its concept and symphonic principles. Additionally, the work highlights Tchaikovsky's piano style and describes his views on the art of piano performance. A special attention is also given to two musical references repeatedly embedded into the sonata: the bell-like sonorities and Dies irae melody.
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Pei-shan, Lu, and 呂佩珊. "A Study of Amy Beach's《Three Shakespeare Songs》Op.37、《Three Browning Songs》Op.44." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/28954487844051409555.

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Lin, Chen-ni, and 林臻旎. "A Study of Amy Beach’s Three Songs, Op.11 and Three Shakespeare Songs, Op.37." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/kedebh.

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碩士
國立中山大學
音樂學系研究所
103
This study explores two Amy Beach’s vocal compositions of collections: Three Songs and Three Shakespeare songs. Amy Beach (1867-1944) is one of the essential American women composers in the 19 century. The two vocal compositions were composed according to Echoes of William Ernest Henley (1849-1903) and Twelfth Night, Measure For Measure, A Midsummer Night''s Dream of William Shakespeare (1564-1616) respectively. The two vocal compositions are Amy Beach’s representative works in the art song''s golden age. This thesis consists of three sections: The first section provides an introduction of American art songs and an biography of Amy Beach, including music background. Second section examines the literature of the Three Songs and Three Shakespeare songs, and the poets William Ernest Henley and William Shakespeare. The final section analyses these six songs revealing the possible interpretation of the composer.
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Li, Shih-hsuan, and 李思萱. "A Study of Enrique Granados’ “Twelve Spanish Dances”, Op.37." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/90694621429620745677.

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碩士
國立臺南大學
音樂學系碩士班
97
This research aims to investigate Enrique Granados’ “Twelve Spanish Dances”, Op.37. First, the researcher investigates the setting of the piece through studying the course of development of Spanish music and dance music, features of Spanish dance music, the life of Enrique Granados, and his style of piano composition. The researcher also looks at the structures of the music and Enrique Granados’ composing techniques, investigating the “Twelve Spanish Dances” from approaches such as the form analysis, music style, rhythm, melody, tonality, harmony, and expression. The pedaling, the technical parts, the use of dynamics and the tempo during performance, and the interpretation by piano performers are also discussed. In the end, suggestions for interpretation are provided. It is found in the study that Enrique Granados adopted various traditional Spanish dance music in his “Twelve Spanish Dances.” These traditional Spanish dance music include Fandango, Rondalla Aragonesa, Sardana, and Bolero. Often in the music one may hear parts that imitate the playing of the guitar; the composer produced his music based on traditional Spanish source materials, while blending in the Western European Romanticism harmony. Most of the music is in ternary form. The faster periods express lively passion, whereas the slower periods has a characteristic of flamenco cante hondo, presenting a deep emotion. Moreover, the set of music features Andalusia music style, including characteristics such as chromatic, the melodic interval of the augmented second, as well as major-minor key shift. Enrique Granados also adopted the driving rhythm, the irregular accent and syncopated rhythm, and one may find sophisticated design of tempo variation among the periods. Enrique Granados expressed his reverence and adoration of his country’s folk music. The music expresses fully the passion of the Spanish people and the characteristics of flamenco music, making it a good starting material for intermediate piano learners learning to play Spanish music. The abundant usage of tempo flexibility in each of the pieces may also be excellent practices of Romantic works. Therefore, Enrique Granados’ “Twelve Spanish Dances” make a very valuable set of Spanish piano composition for practice.
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Lee, Mei-Hui, and 李美慧. "The Study of E. Chausson''s composition "Chanson perpetuelle", op. 37." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/94548543904553653958.

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Books on the topic "Op.37"

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Holst, Gustav. The hymn of Jesus: Op. 37. Huntsville, TX: Recital Publications, 1995.

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Gradenwitz, Peter. Arnold Schönberg, Streichquartett Nr. 4, op. 37. München: W. Fink Verlag, 1986.

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Arnold Schönberg, Streichquartett Nr. 4, op. 37. München: W. Fink, 1986.

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Samuel, Barber. Die natali: Chorale preludes for Christmas, op. 37. New York: G. Schirmer, 1989.

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Beethoven, Ludwig van. Piano Trios, Vol. 3: Op. 44 ; WoO 37-39 ; Op. 38 ; Hess-Verz. 48 / score & par. S.I: G. Henle - HN200, 1996.

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Boismortier, Joseph Bodin de. Sonate D-dur für Querflöte (Oboe, Violine), Gambe (Fagott, Violoncello) und Basso continuo : op. 37/3 =: Sonata in D major for flute (oboe, violin), viola da gamba (bassoon, violoncello) and basso continuo : op. 37/3. Kassel: Bärenreiter, 1988.

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Tjøme, Berit Kvinge. The articulation of sonata form in atonal works of Fartein Valen: Analyses of his Violin concerto, op. 37 and Symphony no. 3, op. 41. Oslo: Unipub, 2002.

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Jazz & Blues: Op. 37. Fjh, 2003.

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Jazz & Blues: Op. 37. Fjh, 2003.

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Rimsky-Korsakov, Nicolai. Serenade, Op. 37 (Kalmus Edition). Alfred Publishing Company, 1985.

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Book chapters on the topic "Op.37"

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"37 Opium (Op.)." In Homöopathische Arzneimittel-Bilder bei Hund und Katze, edited by Gabriele Pfeiffer and Julia Drinnenberg. Stuttgart: Sonntag Verlag, 2010. http://dx.doi.org/10.1055/b-0036-131987.

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"37. Op een gesneden roemer/37. On an Engraved Glass." In A Selection of the Poems of Sir Constantijn Huygens (1596-1687), 228–29. Amsterdam University Press, 2015. http://dx.doi.org/10.1515/9789048527434-040.

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"37 Vorbereitung und Narkoseeinleitung des Patienten im OP." In Intensivpflege und Anästhesie, edited by Lothar Ullrich and Dietmar Stolecki. Stuttgart: Georg Thieme Verlag, 2015. http://dx.doi.org/10.1055/b-0035-124713.

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Hopkins, Antony. "Piano Concerto No. 3 in C Minor, Op. 37." In The Seven Concertos of Beethoven, 31–43. Routledge, 2019. http://dx.doi.org/10.4324/9780429430688-4.

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"Gebraden rapen." In Met (het) oog op morgen, 185–86. Leuven University Press, 2010. http://dx.doi.org/10.2307/j.ctt9qdwvp.37.

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Heinemann, Michael. "Purgatorio für Organisten. Zu Max Regers op. 57." In Sichten auf Max Reger und seinen Schüler Paul Aron, 37–46. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2020. http://dx.doi.org/10.5771/9783828875739-37.

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"g is a subgroup of g', gCg' C OP),." In Universal Algebra and Applications in Theoretical Computer Science, 341–58. Chapman and Hall/CRC, 2018. http://dx.doi.org/10.1201/9781315273686-37.

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"Twiggs, op. cit. 28 Freud, S. (1917) Introductory Lectures on Psychoanalysis, Harmondsworth: Penguin, 1974, p.496 29 Rogers, C. (1987) Reflection of feelings and transference. In H. Kirschenbaum & V.L. Henderson (eds) The Carl Rogers Reader, London: Constable, 1990, p.134 30 Twiggs, op. cit. 31 Haule, J. The Love Cure, Therapy Erotic and Sexual, Dallas: Spring, 1996, p.55 32 Schwartz-Salant, S. The Mystery of Human Relationships: Alchemy and the Transformation of Self, London: Routledge, 1998, p.2 33 Ibid., p.112 34 Donleavy, P. Analysis and Erotic Energies in The Interactive Field In Analysis, Illinois: Chiron, 1995, p.110 35 Casement, P. On Learning from the Patient, London: Routledge, 1985 36 Laing, R.D. The Facts of Life, op. cit., p.110 37 Jacoby, op. cit., p.109 38 Ussher, J. Women's madness: a material discursive intrapsychic approach. In D. Fee (ed) Pathology and Postmodernism, London: Sage, 2000, p.218 39 Parker, op. cit., p.36 40 Bruna-Seu, op. cit., p.206 41 Hollway, W. Gender difference and the production of subjectivity. In J. Henriques, W. Hollway, C. Urwin, C. Venn, V. Walkerdine (eds) Changing the subject: Psychology, Social Regulation and Subjectivity, London: Routledge, 1984 42 Harper, D.J. Discourse analysis and 'mental health'. Journal of Mental Health,1995, 4, 347-357 43 Billig, op. cit. 44 Bordieu, P. Pascalian Meditations, Cambridge: Polity Press, 2000 45 Phillips, R. The need for research-based midwifery practice. British Journal of Midwifery, 1994, 2, 7, 335-8 46 Goodband, S. Research is the new nursing ritual. Nursing Times, 2001, 97, 25, p.21." In Deconstructing Evidence-Based Practice, 154. Routledge, 2004. http://dx.doi.org/10.4324/9780203422311-25.

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Conference papers on the topic "Op.37"

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Huber, K., I. Resch, D. Rose, E. Schuster, D. H. Glogar, and B. R. Binder. "CIRCADIAN VARIATION OP PLASMINOGEN ACTIVATOR INHIBITOR (PAI) AND THE INCIDENCE OP SEVERE ISCHEMIC ATTACKS IN PATIENTS WITH CORONARY ARTERY DISEASE (CAD)." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643023.

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Abstract:
Recent studies have shown a high incidence for the onset of acute myocardial infarction (AMI) in the morning and a possible role of high plasma levels of plasminogen activator inhibitor for the risk of reinfarction. We therefore investigated the diurnal course of PAI and the incidence of severe ischemic attacks in patients with CAD. Blood was drawn from 64 patients at the coronary care unit with angiographically proven CAD (group A = unstable angina, n=37; age = 60.7 ± 10.1 years; group B = stable angina, n=27, age = 58.2 ± 10.9 years) at 4 different time points (6 a.m., noon, 6 p.m., midnight) for at least 3 consecutive days. PAI (functional titration assay; IU t-PA inhibited/ml) and time of onset of severe ischemic attacks including AMI were determined. 50 healthy volunteers (age = 39 ± 17 years) served as controls. We found a significant diurnal variation (paired t-test, p<0.05) of PAI levels in normals (6 am: 11.5±5.6; noon: 6.9±1.7; 6 pm: 5.7±2.5; x ± SD) as well as in patients (6 am: 15.6 ± 6.4; noon: 13-3 ± 1.2; 6 pm: 12.6 ± 5.3; midnight: 13.2 ± 2.8; x ± SD) with an acrophase at 6 am. Compared to the controls PAI values were significantly higher in patients (p<0.01) but showed no significant differences within the two patients’ groups. We could not demonstrate a significant difference in PAI values of patients with or without previous myocardial infarction. Furthermore, development of AMI had no demonstrable influence on preexisting PAI values in both patients’ groups. During the observation period 90 severe ischemic attacks were observed. Attacks occured significantly more often (70$) between midnight and noon with a peak incidence (44$) around 10 am. From these data it can be concluded that PAI levels are elevated in patients with CAD. Peak levels of PAI seem to precede the ischemic event by only a few hours and might thereby contribute to the onset of ischemic events on a basis of increased thrombotic tendency.
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Keijzer, Carmen de, Cathryn Tonne, Xavier Basagaña, Antònia Valentín, Archana Singh-Manoux, Jordi Alonso, Josep Maria Antó, Mark J. Nieuwenhuijsen, Jordi Sunyer, and Payam Dadvand. "OP VIII – 2 Green space exposure is associated with slower cognitive decline in older adults: a 10-year follow-up of the whitehall ii cohort." In ISEE Young 2018, Early Career Researchers Conference on Environmental Epidemiology – Together for a Healthy Environment, 19–20 March 2018, Freising, Germany. BMJ Publishing Group Ltd, 2018. http://dx.doi.org/10.1136/oemed-2018-iseeabstracts.37.

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