Journal articles on the topic 'Solo trombone'

The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).

The purpose of this exploration is revealing of some characteristic, maximally peculiar features for artistically expressive, constructional nature of trombone, as the more unique, universally perfective instrumental phenomenon in the sphere of European musically performing art. The target of this denoted disquisition is also popularization of professional orchestra, ensemble and solo playing trombone in synthetic nature of modern postmodern culture. Methodology represented the scientifically investigative work is formed by author into applying of historical, comparative, axiological and structurally analytical research’s methods. The empirical methods such as association and generalization acquire the important significance. The appeal to structurally functional method in the process for studying of denoted theme has particular importance, because the role of instrument, its functional meaning in definite culturally historical period is lighting the instrument’s artistically singular traits. The scientific novelty of this investigation is conditioned by the view to biggest historically retrospective observation of the trombone’s evolution with the simultaneous detection its uniquely natural, perfectively universal constructional and artistically expressive qualities, possibilities for reflection of ideally imaginative content in reference to professional musical compositions. Conclusions. The naturally formed into constructional perfective specificity the technique of playing trombone established fundamental bases concerning universality of the instrument in duration all the period of its existence. The unrestricted, maximally closing to vocal performing the artistically expressive means of trombone in the all culturally historical periods for widest development of musical art is generated by natural capability for chromatization of sound scale on the all trombone’s diapason, in result applying the specific connecting line mechanism.

As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone and tuba, this virtuosic, 10-minute showcase grabbed the audience's attention from the start with a striking, fanfare-like idea that recurred in extended form as unison chords during the closing bars, providing an incandescent coda. In a brief pre-performance talk, the composer spoke of the often-untapped technical capabilities of brass instruments, and her demanding piece successfully tapped into this potential, as she gave each performer a chance to shine within its teeming textures. In addition to these challenging solo episodes, the score was memorable for its inventive deployment of various combinations of instruments, denoting a genuinely chamber-oriented work. Blaze provided a strong focal point for a programme that otherwise consisted solely of arrangements, nearly all by guitarist Jarle Storløkken, of repertoire originally conceived for other forces, such as piano pieces by Grieg and excerpts from Carmen and The Threepenny Opera.

Il trattamento della trombosi della FAV con vasi nativi, che è la causa più frequente della perdita dell'accesso vascolare, può avvalersi di diverse tecniche: trombolisi farmacologica, trombolisi meccanica e trombectomia chirurgica, cui associare la correzione della stenosi che ha provocato la trombosi. La trombolisi diretta mediante cateterismo endovascolare con o senza tombolisi meccanica sta diventando la terapia di prima scelta. La tombolisi accelerata microsonica (TAM) è un trattamento endovascolare innovativo: grazie all'emissione di ultrasuoni da parte di un catetere multilume che rilascia contemporaneamente il fibrinolitico all'interno del trombo, la TAM è più rapida, più efficace e più sicura rispetto alla sola fibrinolisi e, rispetto alla tombolisi meccanica, non è traumatica, ha un bassissimo rischio di embolizzazione e non provoca emolisi. La TAM, da poco impiegata nelle trombosi acute arteriose e venose profonde e nelle tromboembolie polmonari massive, è stata da noi utilizzata per la prima volta per trattare la trombosi acuta di una FAV radio-cefalica estesa all'intero circolo venoso superficiale dell'avambraccio per una lunghezza complessiva di 20 cm. La TAM è risultata una tecnica semplice, ben tollerata e mini-invasiva che ha reso utilizzabile la FAV subito dopo la tombolisi. Dopo 15 mesi, la FAV è pervia e funziona bene.

El carcinoma adrenocortical (CAC) es un tumor maligno poco frecuente. La presentación clínica, por lo general, es por exceso de producción hormonal. La afectación del sistema venoso con trombos en la vena cava inferior (VCI) solo se reporta en un tercio de los casos. El presente estudio informa un caso de CAC con producción hormonal con trombo tumoral con extensión a la VCI y aurícula derecha asociado a embolia pulmonar. Se trata de una paciente de género femenino de 63 años con diagnóstico reciente de hipertensión arterial en manejo, quien consulta a urgencias por dolor abdominal asociado a náuseas, vómitos y pérdida de peso. Imágenes convencionales con hallazgos de masa en fosa suprarrenal derecha irresecable sin plano de clivaje para realizar algún tipo de procedimiento. Patología con diagnóstico de neoplasia de la corteza suprarrenal con extensa necrosis. Se inicia mitotano y esquema ambulatorio de quimioterapia.

<p class="p1">A pesar de la relevancia médica y el impacto económico en los sistemas de salud, las enfermedades cardiovasculares, tales como infartos cardíacos y accidentes cerebrovasculares, siguen siendo la principal causa de morbilidad y mortalidad en los países en vías de desarrollo. Esto se debe a que las bases estructurales y funcionales de los procesos de formación de los coágulos sanguíneos o trombos solo se conocen de forma incompleta. La trombina juega un papel esencial en estos procesos y los fundamentos atómico-moleculares de su interacción con otros factores que participan en el proceso de coagulación son poco conocidos, en particular el reconocimiento de importantes sustratos como los factores V y VIII, así como el receptor de plaquetas PAR1. Dada la importancia de estos factores, en esta investigación se produjeron fragmentos del factor VIII humano (FVIII) y se caracterizaron bioquímicamente para realizar ensayos de cristalización de complejos FVIII·Trombina. Para ello, (1) se sobreexpresaron heterólogamente los conectores ácidos entre los dominios del factor VIII (denominados FVIIIa1, FVIIIa2 y FVIIIa3), (2) se purificaron y caracterizaron estos fragmentos recombinantes, (3) se formaron sus complejos con la trombina y (4) se inició la búsqueda de las condiciones de cristalización de estos complejos proteicos. La producción del FVIII, y en particular la determinación de las condiciones en las que crecen cristales del tamaño y calidad apropiados, son un auténtico cuello de botella en los estudios de estructura-función, por ello se considera que la optimización de estos procesos permitirá obtener un mayor número de cristales de proteína de calidad adecuada para futuros estudios de difracción de rayos X.</p>

Se ha purificado una enzima coagulante del veneno de la serpiente Bothrops brazili denominada enzima similar a trombina (TLE) mediante tres pasos cromatográficos sucesivos sobre Sephadex G-75, DEAE Sephadex A-50 y Sephadex G-50, empleando buffer Tris-HCl 0,05 M pH 8,5. La enzima fue purificada 15,9 veces con un rendimiento del 28,6 % y por PAGE-SDS se obtuvo una sola banda proteica de 48 kDa, tanto en condiciones reductoras como no reductoras usando 2β-Mercaptoetanol. Se trata de una proteína con actividad coagulante, tanto sobre plasma humano citratado como sobre fibrinógeno bovino. La enzima mostró actividad amidolítica sobre el sustrato cromogénico Benzoil-Arginil-p-Nitroanilina (BApNA) y la potencia coagulante sobre el fibrinógeno bovino fue calculada en 121 unidades NIH de trombina/mg. La enzima fue inhibida por PMSF y por el inhibidor de tripsina de soya, por lo que se trata de una serinoproteasa; el pH óptimo para la actividad amidolítica fue de 8,5 y la proteína fue estable al tratamiento térmico solo hasta los 40 ºC. La dosis defibrinogenante mínima fue 8 μg/g de ratón y mediante pruebas de inmunodifusión doble se observó inmunorreactividad con respecto al suero antibotrópico polivalente del INS.

Introducción: el dabigatrán es un anticoagulante directo que actúa inhibiendo la trombina vinculada al coágulo. Aunque no es necesario hacer monitoreo estricto de las concentraciones de este, debido a su predictibilidad farmacocinética y farmacodinámica, existen métodos cualitativos y cuantitativos para realizarlo; entre los métodos cuantitativos, se encuentran las concentraciones plasmáticas de fármacos medidas con el tiempo de coagulación de ecarina y el tiempo de trombina diluido. El objetivo de este trabajo fue medir el tiempo parcial de trombina en los pacientes anticoagulados con dabigatrán por fibrilación auricular del Hospital Militar Central. Métodos: previo consentimiento informado, se tomaron muestras de 90 pacientes que asistían a consulta externa con fibrilación auricular que se encontraban recibiendo dabigatrán a dosis de 110 mg cada 12 horas o 150 mg cada 12 horas; dentro de los requisitos era necesario haber tomado el medicamento dos horas antes de la toma de la muestra. A todas las muestras se les procesaron diferentes pruebas de coagulación, entre ellas el tiempo de trombina diluida. Resultados: se presentó una variabilidad del 62,5% en los niveles de dabigatrán en las diferentes muestras. La mediana de concentración del medicamento fue de 124 ng/dl (p10-p90: 42,89-257) para los pacientes con dosis de 110 mg y de 160,77 ng/dl (p10-p90: 44,26- 323,93) en los pacientes con dosis de 150 mg. Solo dos pacientes presentaron eventos hemorrágicos, en los cuales los niveles de dabigatrán se hallaban elevados en comparación con la mediana reportada en los demás pacientes. Conclusión: existe una gran variabilidad entre los niveles de dabigatrán medidos por tiempo diluido de trombina; la dosis tomada presentó una relación proporcional a la concentración encontrada; solo hubo dos eventos adversos sin aspectos similares. No hay estudios en la población que evalúen las concentraciones de dabigatrán con esta prueba, por lo que estos resultados son un primer acercamiento sobre el comportamiento de los niveles plasmáticos de dabigatrán en los pacientes que reciben este medicamento.

Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.

Il tromboembolismo venoso, che comprende la trombosi venosa profonda e l’embolia polmonare, è una delle cause prevalenti di morbilità e mortalità in tutto il mondo. L’embolia polmonare ad alto rischio, che include i pazienti con instabilità emodinamica, rappresenta solo il 5-10% delle embolie polmonari alla presentazione, ma è gravata da un’elevata mortalità intraospedaliera. In quanto tale, la diagnosi precoce con l’ecocardiografia transtoracica bedside e/o con l’angiografia polmonare con tomografia compu-terizzata è fondamentale per iniziare tempestivamente il trattamento adeguato e migliorare la prognosi. Riportiamo di seguito il caso di un paziente riferito al nostro centro per embolia polmonare acuta complicata da shock. Parole chiave: Tromboembolismo venoso; Embolia polmonare; Shock; Trombolisi; Anticoagulanti.

HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

I danni cerebrali in epoca perinatale sono una delle più importanti cause di deficit neurologico nei neonati a termine. Possono essere diffusi o focali con aspetti anatomopatologici e neuroradiologici differenti a seconda del grado di maturazione cerebrale e del tipo di eziologia. Abbiamo eseguito una valutazione retrospettiva degli aspetti neuroradiologici e clinici di neonati con danni cerebrali focali, avvenuti nel periodo perinatale per processi trombo-embolici di varia eziologia. Materiali e metodi. La storia clinica di 21 neonati, ricoverati presso il Children's Hospital di Philadelphia (14 femmine e 7 maschi) con un danno cerebrale focale, avvenuto in epoca perinatale è stata rivista e correlata con gli esami neuroradiologici disponibili (20 RM, 1 CT). Risultati. L'indagine ha dimostrato infarti ischemici nel territorio dell'arteria cerebrale media in 15 neonati (9 a sinistra, 2 a destra e 4 da entrambi i lati); in 6 di questi pazienti ha dimostrato anche danni di tipo diffuso, quali la leucomalacia periventricolare (3 neonati) e alterazioni di segnale nei gangli della base (3 pazienti). In tale gruppo i fattori predisponenti sono stati, oltre a complicazioni durante il parto, cardiopatia congenita in 3 casi, sindrome da aspirazione di meconio in 2 casi. Infarti emorragici dovuti a trombosi venosa si sono verificati in 4 pazienti. In 2 casi erano presenti infarti corticali nei territori di confine. Per ciò che riguarda gli aspetti clinici, abbiamo riscontrato paralisi cerebrale e ritardo del linguaggio solo nel gruppo con danni nel territorio dell'arteria cerebrale media (12/15 e 7/15 rispettivamente) e nel gruppo con infarti venosi (3/4 e 1/4). Disturbi visivi erano presenti sono nel primo gruppo con infarti arteriosi (3/15). Conclusioni. I reperti neuroradiologici hanno permesso di categorizzare i danni cerebrali nei nati a termine nel modo seguenti: infarti nel territorio dell'arteria cerebrale media, con o senza danno cerebrale diffuso, infarti di origine venosa, infarti corticali nei territori di confine da ipotensione. Gli aspetti clinici sono in discreta correlazione con quelli neuroradiologici.

Este texto es una reseña biográfica y artística del poeta costeño Carlos Rigby Moses. Señala no solo sus primeros pasos en los círculos literarios del país, sino también las distintas actividades artísticas y políticas de este polifacético poeta caribeño: su afición a la música y al trombón, su participación y compromiso revolucionarios y el importante papel vinculante entre la cultura caribeña y la del Pacífico de Nicaragua. Nos conduce además por un recorrido temático de sus mejores poemas y nos da a conocer las actividades y relaciones que este gran poeta tuvo con los principales literatos y artistas de Nicaragua. Acompaña a este artículo un pronunciamiento del Centro Nicaragüense de Escritores y poemas de Carlos Rigby.

James MacMillan's new St Luke Passion is unusual. No longer does the Passion story end in the death of its principal character; there's a postlude that sees Christ resurrected. Neither is it peopled with singers acting out the traditional confrontations between Christ, Pilate and the High Priest; it starts instead with a brief setting of the Annunciation text found at the opening of St Luke's gospel. Unusual too is the small size of the orchestra – no trombones or tubas, one set of timpani as the sole percussion and an organ. Perhaps most surprising, however, is that the roles of Christus and Pilate, and indeed everyone else, are given to the choruses: a children's chorus for Christ, the other choirs acting as narrator.

Per identificare precocemente una stenosi della fistola arterovenosa (FAV) prima che evolva in trombosi, è necessario un programma di sorveglianza utilizzando il monitoraggio della portata. Rispetto alle protesi, però, nelle FAV native i valori soglia di portata, la frequenza del monitoraggio e il rapporto costo/beneficio non sono chiaramente definiti. Infatti, la misurazione mensile della portata della FAV in tutti i pazienti risulta improponibile nella maggior parte dei Centri di Emodialisi. Inoltre, per quanto riguarda la FAV autoioga, non è sempre possibile applicare le metodiche considerate gold standard e la valutazione clinico-anamnestica, pur indispensabile, non risulta sufficiente. Il QB Stress Test (QBST), un nuovo test di screening, è un valido strumento per individuare solo le FAV con portata ridotta: infatti, ha una buona correlazione con le misurazioni della portata ottenute con la diluizione a ultrasuoni. I pazienti con QBST positivo hanno una portata più bassa di quelli con QBST negativo (433 ± 203 vs 1168 ± 681 mi/min, p

Negli ultimi anni la presenza di cateteri venosi centrali permanenti (CVCp), quale accesso vascolare per l'emodialisi, rappresenta un'evenienza sempre più comune. Il problema principale del CVCp è rappresentato dal biofilm che a sua volta determina un aumento di rischio d'infezione e di trombosi. Recentemente è stata posta particolare attenzione alla soluzione di chiusura “lock” del CVCp. L'eparina andrebbe abbandonata poiché induce più rapidamente lo sviluppo di biofilm ed espone il paziente a rischio di sanguinamento dovuto all'overspil-ling. La soluzione citrato (3.8%) determina attualmente il migliore rapporto rischio/beneficio sul funzionamento del CVC, ma non offre vantaggi sulla riduzione delle infezioni. Le soluzioni con citrato ipertonico (46.7%) e con antibiotico (AML) andrebbero riservate solo su pazienti con elevata incidenza di episodi d'infezione e nei quali non è possibile una sostituzione del CVCp. Le AML andrebbero usate per periodi brevi per il rischio di sviluppo di resistenze. Per l'etanolo è necessario attendere l'esito di importanti trial. Nella corretta gestione del CVC, qualunque “lock” sia utilizzato, va sempre ricordato il continuo addestramento del personale e l'applicazione delle misure igieniche universali.

Descriviamo il caso clinico di un paziente giunto alla nostra osservazione per un'insufficienza renale ingravescente da sospetta vasculite. I nostri accertamenti sia laboratoristici che istologici hanno confermato la vasculite con una diagnosi clinica dubbia tra la Granulomatosi di Wegener e la Poliangioite Microscopica. Tale dubbio diagnostico non influenzava la terapia che, in base alle Linee Guida, è la stessa per le due patologie. Il paziente era trattato con Metilprednisolone, Ciclofosfamide e Plasmaferesi. Non vi è stato però alcun risultato clinico soddisfacente sulla funzionalità renale. Si è dovuta iniziare la dialisi. In questa fase si sono manifestati ripetuti episodi trombotici, che non si erano mai evidenziati prima, per cui abbiamo effettuato esami ematochimici sulla coagulazione e sulla trombosi che hanno evidenziato iperomocisteinemia. Abbiamo pertanto effettuato test genetici da cui è risultata “Trombofilia familiare” correlata a 3 alterazioni genetiche. Il trattamento a base di eparina e acido folico ha consentito di evitare il ripetersi di eventi trombotici. In conclusione, nel nostro paziente, il quadro “vasculitico ANCA associato” si è sviluppato su un “habitus trombofiliaco geneticamente determinato”. Pertanto il solo trattamento della vasculite si è rilevato inefficace. La concomitanza di quest'altra patologia ha probabilmente inciso sfavorevolmente sulla prognosi renale e la sua presenza è stata un elemento confondente per il quadro clinico.

Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.

Viene esaminata l'utilità clinica della risonanza magnetica nella patologia orbitaria con particolare riguardo ai vantaggi, alle limitazioni, alle indicazioni e controindicazioni della metodica. Come è noto, la RM consente uno studio multiplanare e non invasivo delle orbite (non fa uso di radiazioni ionizzanti); inoltre, recenti progressi tecnologici hanno introdotto bobine di superficie sempre più efficienti e sequenze d'impulsi più sofisticate a tutto vantaggio della durata dei tempi di scansione, della risoluzione spaziale e di contrasto. Nella patologia del globo oculare, la RM è impiegata soprattutto nella diagnostica differenziale tra melanomi melanocitici della coroide e lesioni simulanti specialmente nei casi dubbi qualora non vi sia una concordanza tra reperti clinici, oftalmoscopici, ecografici oppure non sia conservata la trasparenza dei mezzi diottrici. La presenza di una sostanza paramagnetica come la melanina, conferisce infatti al melanoma un caratteristico comportamento di segnale: elevata intensità nella sequenza T1-dipendente e bassa intensità in quella T2-dipendente. Per quanto riguarda la patologia extrabulbare intraconica, la RM ha assunto un ruolo di primaria importanza nella diagnostica delle lesioni del nervo ottico e delle guaine meningee che lo avvolgono (plac-che di demielinizzazione, glioma, meningioma periottico). Nella patologia del cono muscolare (oftalmopatia di Graves) la RM ha dimostrato un'affidabilità equivalente a quella della TC; tuttavia, poiché la RM non fa uso di radiazioni ionizzanti, è metodica più idonea soprattutto nel caso di controlli seriati nel tempo in considerazione del fatto che il cristallino è un organo critico. Nell'ambito della patologia intra-extraconica, la RM può consentire, sulla base dell'analisi del segnale, una diagnosi differenziale tra pseudotumor infiammatorio (bassa intensità di segnale nella sequenza Spin-Echo T2-dipendente) e linfoma o metastasi orbitarie (elevato segnale nella sequenza Spin-Echo T2-dipendente) anche se è possibile che alcuni tipi di linfoma, il mieloma e certe metastasi (neuroblastoma) presentino un comportamento di segnale uguale a quello dello pseudotumor infiammatorio. Inoltre, grazie alla intrinseca sensibiltà ai fenomeni di flusso, la RM permette di dimostrare, in caso di patologia vascolare, le anomalie di decorso e di calibro dei principali vasi sanguigni orbitari (varici orbitarie, fistole carotido- cavernose ecc.) nonchè l'eventuale presenza di trombosi endoluminali. Infine, nonostante le limitazioni della RM nella valutazione delle alterazioni della compatta ossea, la metodica ha dimostrato una buona affidabilità anche nello studio delle più frequenti patologie che interessano primitivamente o secondariamente le pareti orbitarie (mucocele, tumori dei seni paraorbitari, metastasi, meningioma della grande ala sfenoidale). In questi casi la RM dimostra direttamente non solo la formazione espansiva ed i suoi rapporti con le strutture endoorbitarie, ma anche le alterazioni ossee associate. In conclusione si può affermare che, nonostante il ruolo preciso della RM nello studio della patologia orbitaria non sia ancora pienamente stabilito, questa metodica è oggi in grado di fornire, in certe situazioni patologiche, delle informazioni che non sono altrimenti disponibili.

È stato dimostrato che le modificazioni di velocità ematica valutabili con Doppler Transcranico indotte nella arteria cerebrale media dalla stimolazione con CO2, possono essere considerate un indicatore attendibile della riserva vasomotoria cerebrale. Tale risposta alla CO2 è significativamente ridotta in pazienti con occlusione della carotide interna e scarsa attivazione dei meccanismi di compenso emodinamico. È stato recentemente dimostrato che anche l'aminoacido L-Arginina è in grado di indurre una vasodilatazione dei vasi di resistenza. Obiettivo della ricerca è valutare le modificazioni emodinamiche indotte a livello intracranico dalla CO2 e dalla L-Arginina in fase pre e post-operatoria ad almeno tre mesi dall'intervento di TEA, per verificare l'utilità della terapia chirurgica nel favorire il recupero della capacità vasomotoria cereberale endotelio-mediata. Abbiamo incluso ad oggi 8 soggetti (età media 65,5 ± 6,26) con un stenosi non occlusiva almeno pari al 70% del lume della CI. Tutti i soggetti sono stati sottoposti in fase pre-operatoria a TC encefalo, Doppler Color Flow dei tronchi sovraortici, Angiografia Digitale Arteriosa, Doppler Transcranico basale e monitoraggio bilaterale delle modificazioni della velocità media di flusso indotte dalla inalazione di CO2 (RVM-CO2) e dalla infusione di L-Arginina (150 mg/Kg/i.v./30′) (RVM-Arg). Nella fase post-operatoria, ad almeno tre mesi dall'intervento, i pazienti sono stati di nuovo sottoposti al monitoraggio con le stesse modalità seguite durante la fase pre-operatoria. Sia la RVM-CO2 che la RVM-Arg non si sono significativamente modificate nella fase pre e post-operatoria sia considerando tutti gli emisferi (M ± DS RVM-CO2 48,25 ± 23,5% e 44,6 ± 20,2%; RVM-Arg 24,2 ± 6,33% e 21,5 ± 9,7%) sia considerando solo il lato stenotico (RVM-CO2 47,7 ± 26,9% e 46,2 ± 23,5%; RVM-Arg 22,7 ± 5,64 e 21,1 ± 9,01%). Considerando il lato stenotico versus quello non stenotico nella fase pre-operatoria la RVM-CO2 non mostrava significative differenze (M ± DS 42 (23,4 e 55,6 ± 23) pur evidenziando una tendenza alla migliore riserva sul lato non stenotico; la RVM-Arg era invece significativamente migliore nel lato non stenotico (M ± DS 21,8 ± 7% e 28,3 ± 4% p=0,05). Tale debole significatività scompariva nella fase post operatoria (19,9 ± 10,5% e 22,07 ± 9,2%). Non esiste correlazione significativa fra la reattività vamotoria indotta da CO2 e quella indotta da L-Arginina. Nei casi finora studiati, i risultati, seppur preliminari, non sembrano evidenziare con sicurezza a distanza di 3 mesi dall'intervento un significativo miglioramento della riserva vasomotoria cerebrale, suggerendo che l'endarteriectomia in questo tipo di pazienti riduce il rischio trombo-embolico ma probabilmente non modifica sostanzialmente la situazione emodinamica antecedente.

In June 1916 Nielsen supplied incidental music for the tercentenary Shakespeare celebrations in Hamlet’s castle of Kronborg, Helsingør (Elsinore). The three choruses and two songs he composed constitute one of his least-known works. But they had a legacy, and not only in the final choral number, which, to other words, subsequently became a candidate for Danish national anthem. Shortly after the event, Nielsen confided that he found Ariel and Caliban (for each of whom he had composed a sharply characterful song) so fascinating that he was considering writing an instrumental work based on their contrasting temperaments. This he never did, at least not overtly. However, ten years later the drastic instrumental contrasts in his Flute Concerto invite a reading based on the Ariel/Caliban duality. The distinctiveness of the concerto’s confrontation between the flute solo and the orchestral bass trombone has long been recognised. However, this duality takes on a more focused and at the same time broader significance when viewed in the light of Nielsen’s life-long, albeit mainly indirect, engagement with Shakespeare. Suggesting how a composer’s occasional character-music may re-emerge in their concert work in the guise of archetypes, our article seeks to contribute to a growing field of investigation into the relationship between ‘applied’ and concert music.

La enfermedad tromboembólica venosa está rara vez asociada a trombofilias hereditarias que pueden clasificarse en dos categorías principales: mutaciones de pérdida de función (deficiencias de anti-trombina III, proteína C, proteína S) y mutaciones de ganancia de función (mutación del gen de la protrombina (G20210A), mutación MTHFR, Factor VIII, Factor V Leiden). Se presenta el caso de un hombre joven con hipertensión pulmonar tromboembólica crónica (HPTEC) y heterocigosidad en el gen MTHFR, que ejemplifica la posibilidad de valorar esta patología en una consulta médica especializada no vascular, hematológica o reumatológica y dada la evolución clínica y los altos costos de atención médica de estos pacientes, justifica la revisión de la etiopatogenia y consecuen-cias clínicas de este polimorfismo, el cual provoca un desbalance homocisteína-metionina que influye en reacciones de proliferación celular, síntesis proteica, síntesis de RNA y procesos de metilación de DNA y otras sustancias a nivel celular. Sin embargo, su asociación con tromboembolismo es controvertida y no se ha podido confirmar una asociación signifi-cativa entre trombofilia hereditaria e HPTEC. Complicaciones como la que presenta el caso descrito con desarrollo de insuficiencia cardíaca derecha, en un paciente no tributario de endarterectomía, adquieren relevancia médico legal y ética, no solo por la posibilidad de prescripción de tratamiento médico y su costo para la seguridad social, sino por su efecto en la sobrevida, lo cual evidencia la importan-cia de estudios para el desarrollo de nuevos fármacos profilácticos y terapéuticos y del consejo genético en casos de existir tendencia genéticamente determinada a enfermedad tromboembólica venosa.

Introducción: Los avances en el manejo y supervivencia de la patología pediátrica grave han supuesto un incremento en los fenómenos tromboembólicos, dada la frecuente necesidad de catéteres venosos centrales (CVC). El presente estudio describe las condiciones en las que se presentan trombosis venosas en pacientes pediátricos con uso de CVC en un centro de referencia público de Guayaquil. Métodos: el presente es estudio observacional, de corte transversal, se realizó con el objetivo de identificar factores que condicionaron el desarrollo de trombosis venosa en pacientes con CVC ingresados en la Unidad de Cuidados Intensivos. Se recolectó información en una ficha prediseñada de todos los pacientes con CVC mayor a 7 días y se realizó eco Doppler venoso para identificar la presencia o ausencia de trombos. Se utiliza estadística descriptiva para el análisis univariado y Odds Ratio para el bivariado. Resultados: 35 pacientes ingresaron al estudio, 14/35 (40%) lactantes menores, 24/35 hombres (69%), 19 casos (54%) con malnutrición, 10 casos (29%) con cardiopatía congénita, 18 casos (51%) ingresados por infecciones. El sitio de punción fue femoral en 15 casos (43%), el procedimiento fue realizado por el felow en 20 casos (57%) y en forma programada en 27 casos (77%) y se realizó en un solo intento en 28 casos (80%). La punta del catéter se ubicó en la vena cava superior en 23 casos ( 66%). La prevalencia de trombosis fue del 14% (IC95% 12.33%-16.25). En el análisis bivariado ninguna de las variables fue asociada a la presencia de trombosis de CVC. Conclusiones: El 14% de los pacientes con uso de CVC por más de 7 días desarrollan trombosis venosa secundaria. No de pudieron determinar factores asocia-dos al CVC sobre el estado nutricional y procedimientos relacionados