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Journal articles on the topic 'Solist'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

B, Enkhbold, Ninjmaa O, and Nyamgerel Kh. "Results of potato varietieis for drought tolerance in vitro conditoin." Mongolian Journal of Agricultural Sciences 22, no. 03 (May 9, 2018): 72–76. http://dx.doi.org/10.5564/mjas.v22i03.955.

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The laboratory’s experiment conducted at IPAS in 2017. The goal of this study was to evaluate drought stress tolerance of released potato varieties using PEG-6000 in-vitro condition. Middle maturing variety Gala, early maturing Solist and Quarta were used experiment. The objectives were to determine how osmosis pressure affected potato plantlet height, root length, total weight of biomass, and stem diameter using their index comparing to normal condition. The screening experiment used three different treatments. The water stress treatments 0 MPa (control), -0.05 MPa and -0,15 MPa were created by PEG-6000. 6 weeks’ year’s old plantlets were measured by 5 features. The variety Gala showed significant high index by 5 performances among the stressed condition compared to Quarta and Solist. The variety Quarta also showed high performance compared Solist. As a result of this study found out that cultivar Gala more tolerant to drought than Quarta and Solist.

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2

. "Continuïteit: van solist naar samenwerking." Huisarts en Wetenschap 49, no. 1 (January 2006): 58–59. http://dx.doi.org/10.1007/bf03084602.

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3

Smit, Dineke, and Frits Bosch. "Het einde van de solist?" Psychopraktijk 5, no. 6 (December 2013): 32–34. http://dx.doi.org/10.1007/s13170-013-0091-y.

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4

Ydebo, Mette. "En begavet solist er trådt af (Judith Winther 1933-2018)." Nordisk Judaistik/Scandinavian Jewish Studies 29, no. 2 (November 3, 2018): 61–63. http://dx.doi.org/10.30752/nj.74525.

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5

ERSOY ÇAK, Şeyma. "MODERNLEŞME SÜRECİNDE TÜRK MAKAM MÜZİĞİ SOLİST İCRACILARI VE MÜNİR NURETTİN SELÇUK." Journal of International Scientific Researches 2, Bahar 2017 (January 1, 2017): 224–31. http://dx.doi.org/10.21733/ibad.2142.

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6

Ersoy Cak, Seyma. "In the light of postmodern indicators Zeki Müren’s musical careerPostmodern göstergelerin ışığıda Zeki Müren’in müzikal yaşamı." International Journal of Human Sciences 12, no. 2 (October 21, 2015): 950. http://dx.doi.org/10.14687/ijhs.v12i2.3214.

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<p>There has been important differences in gender structure, musical and socio-cultural structure in shifting from Ottoman period towards republican years with the effect of modernization. While heterosexual gender structure is strengthened with Turkish modernization, existence of both female and made soloist caused people of third gender to be forgotten both in the sense of voice and as appearance. People of third gender, forgotten due to modern life were recalled by the ‘nostalgic’ connotations of postmodernism. Zeki Müren was considered through postmodern case due to his sociological characteristic and analyzed as a postmodern subject. The study is based on the life of Zeki Müren during 1931-1996 and findings which evaluate his art and stage life as the actor of Post-republican modernization movements in Turkey and process of social and musical change and indicator intersexual postmodern compounds. Zeki Müren is an important example in tradition to become popular with his pioneering behaviors in performance stage and show elements through mass media in 1950-80 during transformation of Turkish maqam music. Zeki Müren who combines tradition with contemporary succeeded in being a phenomenon with his eclectic performance set up in his repertory, costume and stage exercises. Gender readings in which Zeki Müren is related with köçek and tavşan which are the figures of Ottoman period entertainment life characterize the postmodern case.</p><p> When the artistic life of Zeki Müren – as the subject of postmodern case- is analyzed, the element of difference comes into prominence generally. His movies, gender discourses, media relations can be regarded over the concept of irony. His appearance/image being androgenous, his gender being ambiguous, his pluralist representation with soloist, composer, film actor, poet, designer sides and homosexual identity, his eclectic structure with his repertory and costumes were related with postmodern status. Historical period evaluated in the study in which qualitative methods are applied were regarded in two main sections in artistic life of Müren, being periods of 1950-60 and 1970-80. In this sense, postmodern concepts and gender theories were referred within Zeki Müren biography prepared by using historical methodology, his stage life, costumes, repertory and movies and recounted on musical and socio-cultural basis of Turkey. Apart from written (literature study, periodical and newspaper surveys), visual (photographs which have media coverage and found in Zeki Müren Museum) and audio (published records and CD) resource inspections; interviews and repertory detections were also made in the study.</p><p> </p><p><strong>Özet</strong></p><p>Osmanlı döneminden cumhuriyet yıllarına geçişte, modernleşmenin etkileri ile toplumsal cinsiyet kurgularında, müzikal ve sosyo-kültürel yapıda oldukça önemli farklılıklar söz konusu olmuştur. Heteroseksüel cinsiyet yapısının Türkiye modernleşmesi ile kuvvetlendirildiği yıllarda, müzikal anlamda erkek ve kadın solistlerin mevcudiyeti ara-cinslerin gerek ses, gerekse görünüm anlamında unutulmasını sağlamıştır. Modern dünya ile unutulan ara-cinsler postmodernizmin ‘nostaljik’ çağrışımları ile geri gelmiştir. Zeki Müren, sosyolojik niteliği sebebi ile postmodern durum üzerinden ele alınmış ve postmodern bir özne olarak incelenmiştir. Araştırmanın içeriği, Türkiye’de Cumhuriyet sonrası modernleşme hareketleri ile toplumsal ve müzikal değişim sürecinin aktörü ve cinsiyetler arası postmodern bileşimlerin bir göstergesi olarak Müren’in sanat ve sahne yaşamını değerlendiren bulgulara dayanmaktadır. Zeki Müren, Türk makam müziğinin dönüştüğü 1950-80 yılları arasında kitle iletişim araçlarının vasıtasıyla icra, sahne ve şov unsurlarına getirdiği öncü tavır ile geleneğin popülerleşmesinde önemli bir örnek teşkil etmektedir. Gelenek ile günceli birleştiren Zeki Müren, repertuar, kostüm ve sahne çalışmalarında kurguladığı eklektik gösteri tavrı ile fenomen olmayı başarmıştır. Zeki Müren’in, Osmanlı dönemi eğlence yaşamının figürleri köçek ve tavşan ile ilişkilendirildiği cinsiyet okumaları da postmodern durumu nitelemektedir.</p><p>Postmodern durumun öznesi olarak Zeki Müren’in sanat yaşamı incelendiğinde genel anlamda farklılık unsuru ön plana çıkmaktadır. Sinema filmleri, cinsiyet söylemleri, medya ilişkileri ironi kavramı üzerinden ele alınabilmektedir. Görünüm/imajının androjen olması, cinsiyetinin belirsizliği, solist, besteci, film aktörü, şair, desinatör gibi yönleri ve homoseksüel kimliği ile çoğulluk temsiliyeti, repertuar ve kostümleri ile eklektik yapısı postmodern durum ile ilişkilendirilmiştir. Tarihsel metodolojilerden yararlanılarak hazırlanan Zeki Müren biyografisi, sahne yaşamı, kostümleri, repertuarı ve filmleri dahilinde postmodern kavramlara ve toplumsal cinsiyet teorilerine atıfta bulunularak, Türkiye’nin müzikal ve sosyo-kültürel yapısı tabanında anlatılmıştır. Çalışmada yazılı (literatür çalışması, dönemsel süreli yayın ve gazete taraması), görsel (basında yer alan ve Zeki Müren Müzesi fotoğrafları) ve işitsel (yayınlanmış plak ve CD) kaynak incelemelerinin yanı sıra derinlemesine görüşmeler ve repertuar tespitleri yapılmıştır.</p>

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7

González Fabregat, David. "Paco Cepero, una guitarra jerezana." Revista de Investigación sobre Flamenco "La Madrugá", no. 16 (December 27, 2019): 83–135. http://dx.doi.org/10.6018/flamenco.406621.

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Con este trabajo ofrecemos una aproximación a la vida y obra del guitarrista jerezano Paco Cepero. Se repasan los eslabones de una cadena de maestros que conducen hasta su figura y que lo sitúan dentro de la escuela jerezana de toque. Asimismo, partiendo de otros trabajos biográficos, de datos recogidos en prensa y en testimonios personales, recorremos su vida artística. Analizamos también la obra discográfica de este prolífico artista, tanto en su faceta como compositor, como en la de acompañante y solista. El trabajo se completa con una interesante entrevista mantenida con el maestro Cepero en fechas recientes. This work is an approach to the life and works of the Spanish guitarist Paco Cepero from Jerez de la Frontera. The links of a chain of flamenco guitar masters that lead to their figure are reviewed, placing him in the Jerez school of flamenco guitar playing. Thus, using as a baseline some existing biographical texts, information gathered from the press and personal testimonies, we traced through his artistic life. We also analyze the discography of this prolific artist, as a composer, accompanist and soloist. This work is completed with an interesting interview with Paco Cepero in recent dates.

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8

McClure, I. "The Soloist." BMJ 340, feb10 2 (February 10, 2010): c791. http://dx.doi.org/10.1136/bmj.c791.

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9

Fattori, B., P. Giusti, V. Mancini, M. Grosso, M. R. Barillari, L. Bastiani, S. Molinaro, and A. Nacci. "ACTA OTORHINOLARYNGOLOGICA ITALICA." Acta Otorhinolaryngologica Italica 36, no. 5 (October 2016): 395–402. http://dx.doi.org/10.14639/0392-100x-829.

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L’obiettivo di questo studio era quello di confrontare la Videofluoroscopia (VFS), la valutazione endoscopica a fibre ottiche della deglutizione (FEES) e la scintigrafia oro-faringo-esofagea (OPES) per quanto riguarda la caduta pre-deglutitoria, il ristagno post-deglutitorio e l’aspirazione, al fine di valutare l’attendibilità di questi test nel rilevare la disfagia orofaringea. Sessanta pazienti, affetti da disfagia di varia origine, sono stati arruolati nello studio e sottoposti a VFS, FEES e OPES utilizzando un bolo liquido e uno semi-solido. Abbiamo usato la VFS come esame di riferimento. La FEES e la OPES hanno entrambe mostrato una buona sensibilità, con valori complessivi elevati (rispettivamente ≥ 80% e ≥ 90%). Il confronto tra FEES e VFS relativamente alla caduta pre-deglutitoria ha evidenziato una buona specificità (84,4% per i semi-solidi e 86,7% per i liquidi). Nel caso di ristagni post-deglutitori, il confronto tra FEES e VFS ha rivelato una buona validità complessiva (75% per i semi-solidi), con specificità e sensibilità ben equilibrate per i semi-solidi. Il confronto tra OPES e VFS ha dimostrato buona sensibilità (88,6%) e validità complessiva (76,7%) per i liquidi. Il confronto dei dati ottenuti tra FEES e VFS, relativamente all’ aspirazione, ha evidenziato una bassa validità complessiva (≤ 65%). D’altra parte, la OPES ha mostrato una validità complessiva apprezzabile (71,7%). VFS, FEES e OPES sono in grado di rilevare la disfagia oro-faringea. La FEES ha fornito risultati significativi nella valutazione dei ristagni post-deglutitori.

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10

Marteau, Robert. "La fauvette soliste." Po&sie N°167-168, no. 1 (2019): 207. http://dx.doi.org/10.3917/poesi.167.0207.

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11

Nicolas, Marlyn, and Sanaz Farhadian. "Movie Review: The Soloist." Mental Health Clinician 3, no. 2 (August 1, 2013): 108–9. http://dx.doi.org/10.9740/mhc.n164039.

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12

Raizis, M. Byron, Costúla Mitropúlu, and Brigida Artiaco. "Sei ruoli per solisti." World Literature Today 70, no. 4 (1996): 1004. http://dx.doi.org/10.2307/40152488.

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13

Krüger, Thomas. "»Du sollst nicht töten!«." Zeitschrift für Evangelische Ethik 38, no. 1 (February 1, 1994): 17–30. http://dx.doi.org/10.14315/zee-1994-0105.

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Abstract There exists a tension between the categorical prohibition of killing in the Decalogue and the claim for or toleration of homicide, and of killing animals, in other passages of the Old Testament. This tension can be made understandable if we see in the Decalogue an attempt to formulate the ethical foundations of given legal bases. The ethica/ dictate of not killing seems to have given an impulse to the development of the law to Iimit bloodshed as much as possible. The conviction that bloodshed can only be ))atoned for« by renewed bloodshed expresses a >>reverence for Iife« which sets free and, at the same time, restricts the tendency to avoid bloodshed in the ethics and laws of the Old Testament.

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14

Altwegg, Raffaele. "Soloist—Orchestral Player—Teacher." International Journal of Music Education os-15, no. 1 (May 1990): 9–12. http://dx.doi.org/10.1177/025576149001500102.

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15

Lau, Marcus. "Du sollst nicht stören!" Natur und Recht 43, no. 7 (July 2021): 462–65. http://dx.doi.org/10.1007/s10357-021-3869-4.

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16

Nieraad, Jürgen. "Du Sollst Nicht Deuten." Poetica 20, no. 1-2 (August 7, 1988): 131–55. http://dx.doi.org/10.30965/25890530-0200102007.

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17

Peng, Baolin, Chunyuan Li, Jinchao Li, Shahin Shayandeh, Lars Liden, and Jianfeng Gao. "Soloist: BuildingTask Bots at Scale with Transfer Learning and Machine Teaching." Transactions of the Association for Computational Linguistics 9 (2021): 807–24. http://dx.doi.org/10.1162/tacl_a_00399.

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Abstract We present a new method, Soloist,1 that uses transfer learning and machine teaching to build task bots at scale. We parameterize classical modular task-oriented dialog systems using a Transformer-based auto-regressive language model, which subsumes different dialog modules into a single neural model. We pre-train, on heterogeneous dialog corpora, a task-grounded response generation model, which can generate dialog responses grounded in user goals and real-world knowledge for task completion. The pre-trained model can be efficiently adapted to accomplish new tasks with a handful of task-specific dialogs via machine teaching, where training samples are generated by human teachers interacting with the system. Experiments show that (i)Soloist creates new state-of-the-art on well-studied task-oriented dialog benchmarks, including CamRest676 and MultiWOZ; (ii) in the few-shot fine-tuning settings, Soloist significantly outperforms existing methods; and (iii) the use of machine teaching substantially reduces the labeling cost of fine-tuning. The pre-trained models and codes are available at https://aka.ms/soloist.

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18

Venus, Jochen. "Du sollst nicht töten spielen." Zeitschrift für Literaturwissenschaft und Linguistik 37, no. 2 (June 2007): 67–90. http://dx.doi.org/10.1007/bf03379658.

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19

Schafmeister, Maria-Theresia. "Nie sollst Du mich befragen …" Grundwasser 19, no. 3 (August 23, 2014): 171–72. http://dx.doi.org/10.1007/s00767-014-0265-5.

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20

Quillet, Jean-Marc. "O ator é o solista." Dramaturgias, no. 14 (September 28, 2020): 16–29. http://dx.doi.org/10.26512/dramaturgias14.34351.

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Este artigo apresenta trechos de uma entrevista de Jean-Jacques Lemêtre concedida à Jean-Marc Quillet, publicada no livro La musique de Jean-Jacques Lemêtre au Théâtre du Soleil (Paris: Editora L’Harmattan, 2013). Neles o compositor fala sobre alguns aspectos de sua atuação na companhia, detalhando a origem de certos procedimentos e fornecendo detalhes sobre ideias como “o segundo pulmão do ator”, o “ator como solista do espetáculo”, o “afinar os instrumentos de acordo com a voz dos atores”.

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21

Silvey, Brian A., and D. Gregory Springer. "The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance." Journal of Research in Music Education 67, no. 4 (October 9, 2019): 481–93. http://dx.doi.org/10.1177/0022429419878148.

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The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Participants ( N = 58) listened to six excerpts of Haydn’s Concerto for Trumpet, which we created by pairing different recordings of solo trumpet performance (good or bad) with piano accompaniment (good, bad, or none). Participants evaluated the accuracy and expressivity of the soloist in each excerpt. Similar to the previous study, results indicated that participants discriminated between good and bad solo performances successfully, but a significant three-way interaction among solo, accompaniment, and order indicated that these differences were further influenced by the quality/presence of accompaniment and order. Most participants (72.4%) believed that their evaluations of the soloist were not influenced by the piano accompaniment, primarily because they were able to focus on the soloist or because they followed the instructions provided.

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22

Hens, Harry. "Solide." Maatwerk 15, no. 5 (October 2014): 9. http://dx.doi.org/10.1007/s12459-014-0070-3.

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23

Houot, Robert. "Séparation solide-solide. / Separation between solids." Sciences Géologiques. Bulletin 46, no. 1 (1993): 125–41. http://dx.doi.org/10.3406/sgeol.1993.1900.

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24

Bonnelle, C., and F. Vergand. "Distributions électroniques aux interfaces solide-solide." Journal de Chimie Physique 84 (1987): 187–95. http://dx.doi.org/10.1051/jcp/1987840187.

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25

Lack, Graham. "In the Driving Seat: on the Reception of John Casken's Cello Concerto in Germany." Tempo 57, no. 225 (July 2003): 40–43. http://dx.doi.org/10.1017/s0040298203240249.

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The composer himself relates how Heinrich Schiff had requested a ‘self-drive concerto’, one that combined the roles of soloist and conductor and in which a ‘sense of propulsion was provided by the orchestra's inner voice’. It has taken twelve years since the work's inception for John Casken's Cello Concerto to reach Munich, the southernmost major city in Germany. And it was Casken who conducted recently the Münchener Kammerorchester with the renowned Austrian soloist in the Herkulessaal here in the Bavarian capital. The world première was actually back in 1991 at the Schleswig Holstein Music Festival, with Schiff (to whom the work is dedicated) and the Northern Sinfonia delivering it with ‘exemplary and total allegiance’, according to one of Germany's more prestigious journals, Die Zeit. The work is ‘approachable’, this particular review continues; is cast in a musical language that ‘admits in its gestural directness highly expressive motifs and clear contours of tension’; manifests ‘expressive colour’; and gently queries the ‘depth of communication between soloist and orchestra’.

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26

Alvarado Laurín, Oscar Julián, and Oscar Alejandro Beltrán Sánchez. "Aportes de la guitarra clásica a la interpretación del bolero." Epistemus. Revista de Estudios en Música, Cognición y Cultura 8, no. 1 (July 8, 2020): 017. http://dx.doi.org/10.24215/18530494e017.

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Uno de los objetivos del estudio de un instrumento musical en instituciones académicas es la formación de instrumentistas solistas. La incorporación de géneros tradicionales en dicha formación conlleva la dificultad de adaptar música originalmente ejecutada en conjuntos instrumentales a un instrumento solista. En este artículo se analizan los roles complementarios de las dos guitarras que conforman tradicionalmente el conjunto del bolero y se proponen técnicas instrumentales para que ambas partes puedan ser ejecutadas por una guitarra solista. Las técnicas propuestas son el toque apoyado, el toque tirado, el pizzicato, los armónicos naturales, la ejecución de melodía a dos notas, ligados y apoyaturas, arrastres y uso de barra o ceja. Estas técnicas son aplicadas a seis temas, evaluando en cada caso cuál de ellas se adapta mejor a sus características musicales. El aporte de esta investigación consiste en la aplicación de técnicas instrumentales de la guitarra clásica solista para la ejecución de boleros, fundamental para la incorporación de dicho género en entornos académicos

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27

MIRKA, DANUTA. "The Cadence of Mozart's Cadenzas." Journal of Musicology 22, no. 2 (2005): 292–325. http://dx.doi.org/10.1525/jm.2005.22.2.292.

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ABSTRACT The cadenzas Mozart supplied for his piano concertos are designed to close with a standard schema that conforms to the cadence as it was understood by musicians of the 18th century and described by such writers as Heinrich Christoph Koch. Melodic ingredients included the note of preparation, the cadential note, and the caesura note. The cadential schema may be elongated and manipulated in diverse ways, and in extreme cases, as witnessed in Mozart's practice, manipulations of the schema may yield sophisticated strategies that encompass several phases of approaching closure. Since the cadence of the cadenza served as a crucial means of communication between soloist and orchestra, its playful handling by the soloist presumably elicited amusing behavior among the orchestral musicians as they prepared to enter for the end of the final ritornello. This factor contributed a certain visual dimension to the communication between soloist and audience, in accordance with the aesthetic of witticism ascribed to the cadenza by 18th-century writers.

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28

Parayre, Catherine. "Savoie, Paul. 24 mouvements pour un soliste." Voix Plurielles 12, no. 1 (May 6, 2015): 426–27. http://dx.doi.org/10.26522/vp.v12i1.1216.

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29

Wenke, K. A., and M. C. J�ckel. "Solit�res Neurofibrom im Parapharyngealraum." HNO 52, no. 5 (May 1, 2004): 443–46. http://dx.doi.org/10.1007/s00106-003-0871-5.

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30

K�tting, Birgitta, and Randolf Brehler. "Klinisch relevante solit�re Palladiumallergie." Der Hautarzt 45, no. 3 (March 1, 1994): 176–78. http://dx.doi.org/10.1007/s001050050059.

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31

Foissner, Jakob. "„Du sollst dein Geld nachhaltig anlegen!“*." Zeitschrift für Wirtschafts- und Unternehmensethik 17, no. 3 (2016): 433–45. http://dx.doi.org/10.5771/1439-880x-2016-3-433.

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32

FRISCH, Max. "Du sollst Dir kein Bildnis machen." INTAMS review 5, no. 1 (January 1, 1999): 85–87. http://dx.doi.org/10.2143/int.5.1.2014749.

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33

Prodi, Paolo. "7. Gebot: „Du sollst nicht stehlen“." Historische Anthropologie 17, no. 2 (August 2009): 245–59. http://dx.doi.org/10.7788/ha.2009.17.2.245.

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34

Turner, Stewart. "Story of a great classical soloist." Physics World 10, no. 2 (February 1997): 43. http://dx.doi.org/10.1088/2058-7058/10/2/27.

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35

Unterstell, Rembert. "„Du sollst Dir ein Bild machen”︁." forschung 36, no. 4 (December 2011): 18–21. http://dx.doi.org/10.1002/fors.201190052.

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36

Loebell, Klaus. "„Du sollst dir kein Bildnis machen“." Forum der Psychoanalyse 27, no. 1 (March 2011): 23–41. http://dx.doi.org/10.1007/s00451-011-0060-1.

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37

Lachauer, Rudolf. "Du sollst Dir ein Bild machen." Forum der Psychoanalyse 21, no. 1 (March 2005): 14–29. http://dx.doi.org/10.1007/s00451-005-0228-7.

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38

Meussen, Peter, and Susanne Stehr. "Im siebten Jahre sollst Du ruhen." Call Center Profi 5, no. 11 (November 2002): 30–33. http://dx.doi.org/10.1007/bf03244168.

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39

Kreller, Helmut. "»Du sollst dir kein Bildnis machen …!«." supervision 39, no. 3 (July 2021): 45–50. http://dx.doi.org/10.30820/1431-7168-2021-3-45.

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Dieser Artikel begibt sich nach kurzer Einführung in schriftund videobasierte Online-Beratung/Online-Supervision auf eine Suchbewegung in Richtung der Frage: Sind wir in der computervermittelten Kommunikation toleranter, differenzverträglicher, konfliktfähiger als in der klassischen Face-to-Face-Beratung, wie sie tagtäglich in unseren Praxen oder Supervisionsräumen stattfindet?

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CAMPBELL, CAREY. "SOLOIST PARTICIPATION DURING THE TUTTIS OF EIGHTEENTH-CENTURY WOODWIND CONCERTOS." Eighteenth Century Music 7, no. 1 (January 21, 2010): 63–79. http://dx.doi.org/10.1017/s1478570609990455.

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ABSTRACTAlthough the common way to perform late eighteenth-century flute or oboe concertos today is for the soloist to rest during tutti passages, this is probably not what most composers had in mind. Recent research has shown that keyboard and violin soloists played an important role as orchestral members during the ritornellos of their concertos, the former providing a continuo part and the latter doubling the orchestral first violins. But what about concertos for flute or oboe? Were these soloists also to play during the tuttis, and if so, what? Primary source evidence (supported by statements in contemporary treatises) reveals that many eighteenth-century composers expected woodwind soloists to participate during all or some orchestral ritornellos. Printed and manuscript parts of the period reveal several types of soloist participation, suggesting that the practice was widespread yet also flexible. Reinstatement of the soloist in the tuttis, performing all of the music that eighteenth-century composers asked them to perform, would alter the way these concertos sound, in turn forcing a change in how they are perceived.

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Chernetsky, Irina. "The Creation of the World by Virgil Solis." Zeitschrift für Kunstgeschichte 79, no. 2 (December 30, 2016): 211–25. http://dx.doi.org/10.1515/zkg-2016-0018.

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Abstract Virgil Solis (1514 – 1562), a prosperous artist and printmaker from Nuremberg, dedicated his final major work to an illustration of Ovid’s Metamorphoses. Although the designs of most of the woodcuts for this first extensive German series were borrowed from the Metamorphoses series of the French artist Bernard Salomon (c. 1508 – 1561), a closer study reveals several notable differences in the details of individual scenes, among them The Creation of the World. Placing Solis’ work within the tradition of the printed illustrated editions of Ovid’s magnum opus, which had by then crystallized mainly in Italy and France, the article argues that Solis’ illustration drew not only on the earlier Metamorphoses, but also on printed German Bibles, following the parallels taken up at the time between the Creation story in the Metamorphoses and the Creation story in Genesis.

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Silenieks, Juris, Patrick Chamoiseau, Rose-Myriam Réjouis, and Val Vinokurov. "Solibo Magnificent." World Literature Today 72, no. 3 (1998): 669. http://dx.doi.org/10.2307/40154198.

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Lamikiz, Xabier, Manuel Padilla-Moyano, and Charles Videgain. "Aitzin-Solasa." Lapurdum, Numéro spécial 2 (October 1, 2015): 9–13. http://dx.doi.org/10.4000/lapurdum.2531.

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Aurrekoetxea, Gotzon, Charles Videgain, and Aitor Iglesias. "Aitzin-Solasa." Lapurdum, Numéro spécial 4 (October 1, 2019): 11–29. http://dx.doi.org/10.4000/lapurdum.2785.

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Kutzinski, Vera M., and Patrick Chamoiseau. "Solibo Magnificent." African American Review 33, no. 4 (1999): 722. http://dx.doi.org/10.2307/2901374.

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O'Sullivan, Derry. "Suimeanna solais." Comhar 51, no. 5 (1992): 152. http://dx.doi.org/10.2307/25571781.

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Schmidt, Hartmut. "Solide Perspektiven." kma - Klinik Management aktuell 12, no. 02 (February 2007): 38. http://dx.doi.org/10.1055/s-0036-1574093.

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Die aktuellen Zahlen von Marseille sind interpretationsbedürftig. Dennoch besitzt die Aktie Perspektiven. Die Gründe: Die angestrebte Trennung vom Bereich Reha und vor allem das geplante Wachstum der Sparte Pflege im preiswerten Zwei-Sterne-Segment.

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Horn, Iris-Susanne, and Andreas Dietz. "Solide Speicheldrüsentumoren." Laryngo-Rhino-Otologie 91, no. 08 (July 27, 2012): 511–33. http://dx.doi.org/10.1055/s-0032-1321487.

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Wibbelt, Ludger. "Erfreulich solide." Media Spectrum 30, S1 (April 2010): 32–33. http://dx.doi.org/10.1007/bf03257319.

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Gürtl-Lackner, B., D. Gisselsson-Nord, and G. Vujanic. "Solide Kindertumoren." Der Pathologe 38, no. 4 (June 22, 2017): 278–85. http://dx.doi.org/10.1007/s00292-017-0312-y.

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