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1
Covington, Kate, Soulima Stravinsky, Ross Bauer, et al. "Three Preludes and Fugues." Notes 44, no. 3 (1988): 582. http://dx.doi.org/10.2307/941552.
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Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos." Review of Artistic Education 17, no. 1 (2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.
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Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience’s sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, “the best of all” as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes” considers this would have an ironic character. “Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six”.143
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Moya, Liao. "Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 36–48. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233103.
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The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.
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Barlow, Jill. "St Albans: ‘Messiah Preludes’." Tempo 58, no. 228 (2004): 70. http://dx.doi.org/10.1017/s0040298204310156.
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The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.
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Long, Christopher P. "Socrates and the Politics of Music: Preludes of the Republic." Polis: The Journal for Ancient Greek Political Thought 24, no. 1 (2007): 70–90. http://dx.doi.org/10.1163/20512996-90000108.
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At least since the appearance of Aristotle’s Politics, Plato’s Republic has been read as arguing for a politics of unity in which difference is understood as a threat to the polis. By focusing on the musical imagery of the Republic, and specifically on its compositional organization around three ‘preludes’, this essay seeks an understanding of Socratic politics that moves beyond the hypothesis of unity. In the first ‘prelude’, Thrasymachus and his insistence that justice is the self-interest of the stronger threatens to subject the harmony of the community to the tyrannical whims of the individual. In the second, the perfected justice of Adeimantus’s city threatens to destroy the erotic rhythm of difference that is the very condition for the possibility of the polis. It is only in the song of dialectic, which itself is called a ‘prelude’, that the tension between the rhythm of plurality and the rational homophony of unity is dynamically tuned in such a way that both the anarchic politics of self-interest and the totalitarian politics of rationalized oppression are equally muted. This conception of politics is embodied in the relationship that emerges between Glaucon and Socrates. Ultimately, the true political community is established here, between rational, erotic individuals seeking justice in concrete, living dialogue.
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
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XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (2021): 1–10. http://dx.doi.org/10.46872/pj.302.
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The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.
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Carvalho, Larissa Paggioli de. "Bach's Well-Tempered Clavier: Pedagogical Approaches and the Different Styles of Preludes." Per Musi, no. 33 (April 2016): 97–115. http://dx.doi.org/10.1590/permusi20163305.
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Abstract: The present article discusses pedagogical aspects aiming to contribute to teaching and learning Bach's Preludes of the Well-Tempered Clavier. Section one presents a review of the prelude as a musical genre and the different styles that influenced the Well-Tempered Clavier Preludes. Then, there is an analysis of selected preludes that will exemplify the variety of styles found in this work of Bach.
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Lysovska, Iryna, and Olga Ryzhova. "ABOUT EDUCATION OF MUSICAL ACADEMIES STUDENTS’ ARTISTIC ABILITIES." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 153–62. http://dx.doi.org/10.33989/2226-4051.2017.15.175936.
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The importance of the theme is caused by modern tendencies of cultural life of society which feels need in the preparing of highly qualified specialists who can work under the conditions of the transformation of all spheres of social life in our country. On this background the deficit of musical-pedagogical investigations has been found especially concerning artistry.It arose in the epoch of Romantism and included external expression of inner feelings. Artistry appears in the interpretation as the main factor of musician’s appearance. In connection with this the first task of the performer – to emphasize trunk drama line. It absorbs auditory control which covers all elements of sound context.The work of art is “the openness” for countless interpretation. That is why we have poly variety of artistic deliveries of musical imagery. But the performer must strictly control stylistic parameters of the work of art not to distort artistic image.We has chosen as examples K. Dedjussi’s two preludes B. Lyatoshynsky’s and three preludes to show that they are available to the performer of middle level of fortepiano’s preparation.Artistry of the delivery of these images will be consisting in deep concentration on rhythm, strict performance of composer’s remarks which underline images. The work on these works of art and their performing in the open concerts will develop the taste to scene incarnation and enrich range of artistry showed in perception and interpretation of musical art.
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Westerink, Herman, and Philippe Van Haute. "‘Family Romance’ and the Oedipalization of Freudian Psychoanalysis." Psychoanalysis and History 22, no. 2 (2020): 175–87. http://dx.doi.org/10.3366/pah.2020.0336.
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Although Freud's ‘Family Romances’ from 1909 is hardly ever discussed at length in secondary literature, this article highlights this short essay as an important and informative text about Freud's changing perspectives on sexuality in the period in which the text was written. Given the fact that Freud, in his 1905 Three Essays, develops a radical theory of infantile sexuality as polymorphously perverse and as autoerotic pleasure, we argue that ‘Family Romances’, together with the closely related essay on infantile sexual theories (1908), paves the way for new theories of sexuality defined in terms of object relations informed by knowledge of sexual difference. ‘Family Romances’, in other words, preludes the introduction of the Oedipus complex, but also – interestingly – gives room for a Jungian view of sexuality and sexual phantasy. ‘Family Romances’ is thus a good illustration of the complex way in which Freud's theories of sexuality developed through time.
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Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.
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Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.
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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.
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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.
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Koshul, Basit B. "The Introduction of Arabic Philosophy into Europe." American Journal of Islam and Society 11, no. 4 (1994): 582–86. http://dx.doi.org/10.35632/ajis.v11i4.2445.
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During the first three decades of this century, a lively debateemerged in western academic circles regarding the extent of theArab-Islamic influence on western civilization. Certain scholarsrejected the idea that the West had been influenced in any significantmanner by the classical Arab-Islamic civilization (ninth to twelfthcenturies CE). Barnes, in The Intellectual History of Mankind, arguesthat there is nothing in Islamic teachings or history that encouragedthe pursuit of learning and scholarship. Thus, he claimed, one cannotspeak of any "Islamic contribution" to western civilization. Sevier, inhis The Psychology of the Mussa/man, goes further and argues thatone cannot even speak of an "Arab" civilization, because all of theknowledge and scholarship produced in the classical age of Islamwere due to Syrian, Jewish, Hindu, and Persian efforts. It naturallyfollows that all talk of any Arab influence on the West is superfluous.Other scholars presented counterarguments and took the positionthat the Arab-Islamic influence on western civilization was very significant.Briffault, in The Making of Humanity, credits classical Islamicscholarship with producing the intellectual concepts and methods thatwere the indispensable preludes to the European renaissance. Sarton,in his Introduction to the History of Science, argues that the impact ofHindu and Chinese cultures on the West can be totally disregardedwithout seriously impairing one's ability to understand the postmedievalprogress of the West. But if the Arab-Islamic impact were tobe discounted, then the story of this progress would become confusedand unintelligible ...
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Galofré, Claudia, Öykü Gönül Geyik, Elena Asensio, et al. "Tetraploidy-Associated Genetic Heterogeneity Confers Chemo-Radiotherapy Resistance to Colorectal Cancer Cells." Cancers 12, no. 5 (2020): 1118. http://dx.doi.org/10.3390/cancers12051118.
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Tetraploidy, or whole-genome duplication, is a common phenomenon in cancer and preludes chromosome instability, which strongly correlates with disease progression, metastasis, and treatment failure. Therefore, it is reasonable to hypothesize that tetraploidization confers multidrug resistance. Nevertheless, the contribution of whole-genome duplication to chemo-radiotherapy resistance remains unclear. Here, using isogenic diploid and near-tetraploid clones from three colorectal cancer cell lines and one non-transformed human epithelial cell line, we show a consistent growth impairment but a divergent tumorigenic potential of near-tetraploid cells. Next, we assessed the effects of first-line chemotherapeutic drugs, other commonly used agents and ionizing radiation, and found that whole-genome duplication promoted increased chemotherapy resistance and also conferred protection against irradiation. When testing the activation of apoptosis, we observed that tetraploid cells were less prone to caspase 3 activation after treatment with first-line chemotherapeutic agents. Furthermore, we found that pre-treatment with ataxia telangiectasia and Rad3 related (ATR) inhibitors, which targets response to replication stress, significantly enhanced the sensitivity of tetraploid cells to first-line chemotherapeutic agents as well as to ionizing radiation. Our findings provide further insight into how tetraploidy results in greater levels of tolerance to chemo-radiotherapeutic agents and, moreover, we show that ATR inhibitors can sensitize near-tetraploid cells to commonly used chemo-radiotherapy regimens.
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Neimoyer, Susan. "After the Rhapsody." Journal of Musicology 31, no. 1 (2014): 91–138. http://dx.doi.org/10.1525/jm.2014.31.1.91.
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1924 was one of the most demanding years of George Gershwin’s career. In addition to the wildly successful premiere of the Rhapsody in Blue that led to numerous additional performances of the work throughout the year, he wrote the music for three hit musicals, all of which opened during that year. Given this context, a manuscript notebook in the Gershwin Collection at the Library of Congress dating from March and April 1924 is particularly intriguing. Because this notebook contains the earliest known sketch of “The Man I Love” (one of Gershwin’s best-loved popular songs), it has been acknowledged in passing by Gershwin scholars. “The Man I Love,” however, is only one of nine short pieces in the notebook and is the only entry written in what is now defined as Gershwin’s compositional style. This article briefly addresses the entire contents of this “March–April 1924 notebook,” exploring the possibilities of what Gershwin’s purposes in writing these undeveloped works might have been. Were they unused stage music, ideas for the set of piano preludes he was writing off and on during this era, or were they exercises focused on correcting weaknesses in compositional technique uncovered while writing the Rhapsody in Blue? Whatever their purpose, the pieces in this notebook provide clues as to what Gershwin’s creative priorities may have been, as well as further insights into how Gershwin honed his musical craft.
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Morgan, Robert P. "Circular Form in the "Tristan" Prelude." Journal of the American Musicological Society 53, no. 1 (2000): 69–103. http://dx.doi.org/10.2307/831870.
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The music of the Prelude to Tristan und Isolde is in constant transformation, projecting a seemingly unbroken arc of intensification followed by release. It thus seems to defy traditional formal analysis, which aims to articulate music into discrete units with clearly differentiated functions. Yet the Prelude, despite its continuously developmental nature, is characterized by constant repetition of only three formal units, which are subjected to significant surface variation but retain their underlying melodic, harmonic, and linear identities. The article analyzes how this process, which would seem to be overly segmental, is reconciled with the ongoing quality of the music. It examines first the circular arrangement of the three repeating units, along with their relation to five brief passages that occur but once; it then analyzes the circularly repeating harmonic-linear pattern they project. It also considers how the Prelude's formal units differ from traditional ones in that they are designed to emerge out of those preceding them and flow into those that follow, avoiding strong segmentation. The music is thus revealed to have a unique, yet easily comprehensible, overall tonal and formal design that supports, rather than contradicts, its evolutionary nature.
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Rapoport, Paul. "Sorabji Piano Music." Tempo 59, no. 232 (2005): 55–56. http://dx.doi.org/10.1017/s0040298205250155.
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SORABJI: Two Piano Pieces; Fantaisie espagnole; Valse-Fantaisie: Hommage à Johann Strauss; Three Pastiches; Le jardin parfumé; Nocturne Jami; Gulistan; Introito and Preludio corale from Opus clavicembalisticum; Prelude, Interlude, and Fugue; Fragment for Harold Rutland; Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid; Quære reliqua hujus materiei inter secretiora; St. Bertrand de Comminges: ‘He was Laughing in the Tower’. HABERMANN: À la manière de Sorabji: ‘Au clair de la lune’. Michael Habermann (pno). BMS 427CD–429CD (3-CD set).SORABJI: Piano Sonata No. 4. Jonathan Powell (pno). Altarus AIR-CD-9069(1)–9069(3) (3-CD set priced as 2).
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.
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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Wu, D., and N. Trott. "Three Sources for Wordsworth's Prelude Cave." Notes and Queries 38, no. 3 (1991): 298–99. http://dx.doi.org/10.1093/notesj/38.3.298.
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Наливаева, Е. Н. "The Truth is Out There: “Songs of Bukovina” by Leonid Desyatnikov as a Neoromantic Cycle." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 46–68. http://dx.doi.org/10.26156/om.2021.13.2.003.
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«Буковинские песни» Леонида Десятникова, написанные в 2017 году и вдохновленные фольклорными напевами,—продолжение традиции циклов прелюдий для фортепиано, заложенной в эпоху романтизма и активно развитой в дальнейшем. В статье делается попытка осмыслить сочинение как образец нео романтизма, констатировать неразрывную связь с прошлым, параллельно затраги вая особенности работы композитора с материалом. Большое внимание уделяется романтической идее синтеза: «Буковинским песням» свойственно сочетание несо четаемого, органичное соединение непохожего, разнопланового. Именно поэтому, анализируя цикл, автор статьи оперирует словами с приставкой «поли-»: поли форма, политоникальность, полиопорность, полиладовость, полигармония, поли метрия, полиритмия, политональность (ключевое «поли-» для самого Десятнико ва)—обобщающим для всех этих терминов становится понятие полисистемы. В буклете к диску «Буковинских песен» поэт Мария Степанова предпринимает «Двенадцать попыток заговорить» о фортепианных прелюдиях Десятникова. Дан ная статья, в сущности, представляет собою тринадцатую, музыкантскую и музы коведческую, попытку начать разговор о цикле. Подробный потактовый анализ «Буковинских песен» не входит в задачи этой работы; перед автором, скорее, стоит цель показать ведущий принцип организации материала в рассматриваемом сочи нении. Наиболее детально анализируются Прелюдии I, II, XIII, XV, XIX. Leonid Desyatnikov’s “Songs of Bukovina” written in 2017 inspired by folk chants is a continuation of piano prelude tradition founded in the age of romanticism and actively developed later. This article is an attempt to comprehend Desyatnikov’s work as an example of neoromanticism, to find the inextricable connection to the past all while looking at distingushing features of the composer's way of working over the material. Special attention here is paid to the romantic idea of synthesis. “Songs of Bukovina” is a combination of uncombinable, an organic conjunction of dissimilar, different. That's why in this article the author often uses words that begin with the prefix “poly-”, such as polyform, polytonicality, polymodality, polyharmony, polyrhythm, polytonality (the most important word to Desyatnikov himself) etc., which are hyponyms to the term of polysystem. In the Booklet to “Songs of Bukovina” CD, poet Maria Stepanova makes “Twelve attempts to start speaking” of Desyatnikov’s piano preludes. This article is, in fact, yet another, 13th attempt made by a musician to speak of this cycle. The goal of this work is not to provide a bar by bar analysis of the “Songs of Bukovina” but to show the main principle according to which the material is organized. The author will take the closest look at Preludes I, II, XIII, XV, XIX.
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Skempton, Howard. "PRELUDES AND CANONS." Tempo 75, no. 297 (2021): 71–77. http://dx.doi.org/10.1017/s0040298221000243.
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A recent exchange of emails with the composer Christopher Fox touched on Morton Feldman. Christopher commented, ‘My “problem” with Feldman, and it is just mine and not a problem, is that he was not an innovator; but has there ever been a conservative composer who took more risks?’. This led me to consider the value of innovation, the need for risk and the nature of the risks we take.
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Chandler, D. "The Importance of The Three-Part Prelude." Essays in Criticism 58, no. 3 (2008): 193–209. http://dx.doi.org/10.1093/escrit/cgn013.
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Inácio, Cicero Pinheiro, Fernanda Gomes Beserra, Cynthia Regina Pedrosa Soares, et al. "Epidemiology and antifungal susceptibility patterns of Candida species in tertiary hospitals: Update on regional trends." Research, Society and Development 10, no. 4 (2021): e59810414462. http://dx.doi.org/10.33448/rsd-v10i4.14462.
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Trends in epidemiology and antifungal susceptibility of Candida species in Brazil between 2019–2020 are reported. A total of 22 isolates diagnosed from candidemia episodes were analyzed. Candida species were identified by specie specific primer and/or sequencing of 28S rDNA. Antifungal susceptibility was determined by CLSI method. C. tropicalis accounted for 11 (50%) cases followed by C. albicans (n=5, 22.73%), C. parapsilosis (n=4, 18.19%), Issatchenkia orientalis (n= 1, 4.54%), and Saccharomyces cerevisiae (n= 1, 4.54%). All Candida isolates were susceptible to amphotericin B and micafungin, and one was dose-dependent to anidulafungin. Eight of 20 Candida isolates were resistant to fluconazole and four sensitive doses dependent. Sixteen of 20 Candida isolates were resistant to voriconazole, and one resistant and one sensitive dose-dependent on caspofungin. Besides, the respective MIC50 and MIC90 values were calculated with fluconazole (MIC50 and MIC90 of 4 and 64µg/mL, respectively) and voriconazole (MIC50 and MIC90 of 16µg/mL) showing the lowest potencies. The spread of fluconazole-resistant in one of major concerns, especially to C. tropicalis. The high use of antifungal drug may be a possible cause related to this scenario. Thus, the susceptibility profile test may be used to know the best way to introduce appropriateness empirical antibiotics therapy. Changing trends in incidence and antifungal susceptibility patterns of six Candida species causing candidemia in Kuwait between 2006–2017 are reported. A total of 2075 isolates obtained from 1448 patients were analyzed. Identity of Candida species isolates was determined by phenotypic methods and confirmed by PCR amplification/PCR-sequencing of rDNA and/or MALDI-TOF MS. Antifungal susceptibility was determined by Etest. C. albicans accounted for 539 (37.22%) cases followed by C. parapsilosis (n = 502, 34.67%), C. tropicalis (n = 210, 14.5%), C. glabrata (n = 148, 10.22%), C. krusei (n = 27, 1.81%) and C. dubliniensis (n = 22, 1.5%). The comparative percent distribution of Candida species causing candidemia between 2006–2011 and 2012–2017 was as follows: C. albicans 41.8% and 33.1%, C. parapsilosis complex 32.01% and 37.04%, C. tropicalis 13.59% and 15.31%, and C. glabrata 8.77% and 11.51%, C. krusei 2.0% and 1.7%, and C. dubliniensis 1.75 and 1.3%, respectively. Three of 371 C. albicans isolates during 2006–2011 and five of 363 during 2012–2017 were resistant to fluconazole. Among C. parapsilosis isolates, one of 310 during 2006–2011 and 21 of 446 during 2012–2017 were resistant to this drug. Furthermore, at an epidemiologic cutoff value (ECV) of ≤0.5 μg/ml, 70.1% C. albicans isolates were wild-type for fluconazole during 2006–2011 as compared to 58.1% during 2012–2017. Likewise, at an ECV of ≤2 μg/ml, 98.0% of C. parapsilosis isolates were wild-type during 2006–2011 as compared to 93.4% during 2012–2017. Clonal spread of fluconazole-resistant C. parapsilosis in one major hospital was documented. An 8.8% shift in favor of non-albicans Candida species with concomitant increase in MICs between the two periods preludes emergence of fluconazole-resistant candidemia cases in Kuwait.Changing trends in incidence and antifungal susceptibility patterns of six Candida species causing candidemia in Kuwait between 2006–2017 are reported. A total of 2075 isolates obtained from 1448 patients were analyzed. Identity of Candida species isolates was determined by phenotypic methods and confirmed by PCR amplification/PCR-sequencing of rDNA and/or MALDI-TOF MS. Antifungal susceptibility was determined by Etest. C. albicans accounted for 539 (37.22%) cases followed by C. parapsilosis (n = 502, 34.67%), C. tropicalis (n = 210, 14.5%), C. glabrata (n = 148, 10.22%), C. krusei (n = 27, 1.81%) and C. dubliniensis (n = 22, 1.5%). The comparative percent distribution of Candida species causing candidemia between 2006–2011 and 2012–2017 was as follows: C. albicans 41.8% and 33.1%, C. parapsilosis complex 32.01% and 37.04%, C. tropicalis 13.59% and 15.31%, and C. glabrata 8.77% and 11.51%, C. krusei 2.0% and 1.7%, and C. dubliniensis 1.75 and 1.3%, respectively. Three of 371 C. albicans isolates during 2006–2011 and five of 363 during 2012–2017 were resistant to fluconazole. Among C. parapsilosis isolates, one of 310 during 2006–2011 and 21 of 446 during 2012–2017 were resistant to this drug. Furthermore, at an epidemiologic cutoff value (ECV) of ≤0.5 μg/ml, 70.1% C. albicans isolates were wild-type for fluconazole during 2006–2011 as compared to 58.1% during 2012–2017. Likewise, at an ECV of ≤2 μg/ml, 98.0% of C. parapsilosis isolates were wild-type during 2006–2011 as compared to 93.4% during 2012–2017. Clonal spread of fluconazole-resistant C. parapsilosis in one major hospital was documented. An 8.8% shift in favor of non-albicans Candida species with concomitant increase in MICs between the two periods preludes emergence of fluconazole-resistant candidemia cases in Kuwait.
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Swift, Richard, and Arthur Berger. "Prelude, Aria and Waltz: Three Pieces for String Orchestra." Notes 44, no. 1 (1987): 153. http://dx.doi.org/10.2307/941001.
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Elphick, Daniel. "Sonata No. 1 for Violin Solo, Opus 82; and: Sonata No. 2 for Violin Solo, Opus 95; and: 24 Preludes for Violoncello Solo; and: Three Palms, Opus 120; and: String Quartet No. 14, Opus 122; and: String Quartet No. 15, Opus 124 by Mieczysław Weinberg." Notes 72, no. 3 (2016): 619–23. http://dx.doi.org/10.1353/not.2016.0022.
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Kerr, R. A. "Was There a Prelude to the Dinosaurs' Demise?" Science 239, no. 4841 (1988): 729–30. http://dx.doi.org/10.1126/science.239.4841.729.
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Shaymukhametova, Liudmila N. "About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists." ICONI, no. 2 (2019): 116–27. http://dx.doi.org/10.33779/2658-4824.2019.2.116-127.
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The methodological elaborations of the rubric of the journal “My fi rst transcriptions” will present examples from assignments from the attempts of creative work of beginning pianists with the musical text. The offered assignments carry the aim of teaching certain universal techniques of artistic transformation of the composer’s primary text. The fi rst article devoted to this subject matter examines the register allocation and the doubling which were applied in everyday music-making in the 16th and 17th centuries during the varied re-exposition of the clavier text into various ensembles. The technique of their application is simple and accessible to contemporary listeners as well; it presumes the utilization of timbral possibilities of the present-day piano and keyboard synthesizer. At the basis of the elaboration of the assignments there are fragments of J.S. Bach’s instructive compositions from such compilations as “Kleinen Preludien und Fugen,” “Klavierbüchlein für Wilhelm Friedemann Bach,” as well as the “French Suites,” all of which assume a transformation of the clavier text for performing it in various variants and instrumental ensembles. These are the introductory pieces to the cycles: the preludes, fantasies or the pieces in the dance genres.The lessons are organized in the piano classes upon the conditions of “sight-reading” either in a solo manner, or with participation of partners in the form of intonational etudes. The analysis of the semantic structures applies role playing games in the subject matter of “I am playing the organ,” “there is a rehearsal of a historical orchestra going on,” “Trio for two fl utes and cello,” etc.
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Weber, C. A., K. E. Maloney, and J. C. Sanford. "Long-term Field Performance of Primocane Fruiting Raspberry Cultivars in New York." HortTechnology 14, no. 4 (2004): 590–93. http://dx.doi.org/10.21273/horttech.14.4.0590.
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The performance of 11 primocane fruiting raspberry (Rubus idaeus) cultivars was evaluated based on yield and fruit weight from the first three seasons compared to the eighth and ninth seasons, respectively. Plot vigor and cane density was evaluated in the eighth season. `Prelude', `Caroline', and `Heritage' did not show a decline in yield in the eighth season compared to the first three seasons. `Kiwigold', `Graton Gold' (sold as `Goldie'), `Watson' (sold as `Ruby'), `Autumn Bliss', `Anne, and `Amity' had substantial yield decreases from early production seasons ranging from -30% to -82%. `Kiwigold' had the highest yield of 4015 kg·ha-1 (3582.2 lb/acre) in the eighth season followed by `Caroline' at 3649 kg·ha-1 (3255.6 lb/acre), `Heritage' at 3614 kg·ha-1 (3224.4 lb/acre), and `Prelude' at 3591 kg·ha-1 (3203.9 lb/acre). Fruit weight did not vary significantly among years, but there were differences among cultivars. In the ninth season, `Ruby' had the largest fruit at 3.1 g (0.11 oz), followed by `Autumn Bliss' at 2.9 g (0.10 oz), and `Caroline' and `Prelude' at 2.8 g (0.10 oz). `Summit', `Goldie', and `Rossana' had the smallest fruit at 1.5 g (0.05 oz). `Goldie' was the most vigorous cultivar and `Anne' the least in the eighth season based on vigor ratings. `Rossana' had the highest cane density at 41.6 canes/m2 (3.86 canes/ft2). Seven of 11 cultivars had cane density of 32 canes/m2 (3.0 canes/ft2) or higher, which is sufficient to produce acceptable yields in cultivars suited to the region. Overall, `Prelude', `Caroline' and `Heritage' and its sports, `Kiwigold' and `Goldie', show the most potential for long production cycles in climates similar to western New York state.
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Boyhan, George E., James E. Brown, Cynthia Channel-Butcher, and Virginia K. Perdue. "Evaluation of Virus Resistant Squash and Interaction with Reflective and Nonreflective Mulches." HortTechnology 10, no. 3 (2000): 574–80. http://dx.doi.org/10.21273/horttech.10.3.574.
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A 3-year study to evaluate mulch type (reflective and black) and new virus resistant summer squash (Cucurbita pepo L.) varieties was undertaken. In the first year of the study (1996), in Shorter, Ala., under slight virus pressure, silver painted mulch suppressed virus symptoms through the final evaluation 2 months after planting. In addition, virus symptoms were significantly more prevalent on `Dixie' compared to `Supersett', `Tigress', `HMX 5727', `Jaguar', `Destiny III', and `Prelude II'. In the second year (1997), two different experiments were conducted in Savannah, Ga., where there was no virus pressure. In the first experiment at the Savannah location, `Tigress' and `HMX 6704' had significantly higher yields than `Destiny III', `Prelude II', `Puma', `Jaguar', `Meigs', `Dixie', and `Supersett'. In the second Savannah experiment, `Prelude II' and `Destiny III' had significantly higher yields than `Zucchini Elite', `Supersett', `HMX 6704', and `Jaguar'. In 1998 at Shorter, there was no difference in virus incidence based on mulch used. Although there were differences in virus incidence among varieties, the lowest incidence was 70% of plants infected for `Prelude II'. In addition to field evaluations, these varieties were evaluated for resistance to zucchini yellow mosaic virus under greenhouse conditions. Varieties HMX 7710, HMX 6704, Puma, Tigress, Prelude II, Jaguar, and Destiny III were significantly more resistant compared to varieties Zucchini Elite, Meigs, Supersett, and Dixie. In conclusion, reflective mulch was effective only under slight virus pressure.
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Bücker, Claudia, Barbara Witte, Ursula Windmüller, and Hans J. Grambow. "Anthranilate Synthase and Chorismate Mutase Activities in Stem Rust-Inoculated and Elicitor-Treated Resistant, Moderately Resistant, and Susceptible Near-Isogenic Wheat Lines." Zeitschrift für Naturforschung C 50, no. 1-2 (1995): 54–60. http://dx.doi.org/10.1515/znc-1995-1-209.
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Abstract Anthranilate synthase and chorismate mutase activities which control the flow of substrate from chorismate into the tryptophan pathway and into the phenylalanine/tyrosine pathway, respectively, were examined in three near isogenic wheat lines of Triticum aestivum L. (cv. Prelude Sr 5, highly resistant to stem rust infection; cv. Prelude Sr 24, moderately resistant; cv. Prelude srx, susceptible). The activities of both enzymes were found to increase in response to inoculation with the stem rust fungus Puccinia graminis f. sp. tritici or treatment with Pgt elicitor. Thus, both the tryptophan branch and the phenylalanine branch appear to contribute to the resistance response in wheat leaves. Only the cytosolic but not the plastidic fraction of the enzyme activities appears to be affected by fungal infection or elicitor treatment. Some differences with respect to degree and time dependency of enzyme activation were noticed between the three wheat lines following inoculation but not after treatment with the Pgt elicitor.
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Thompson, Sam, Aaron Williamon, and Elizabeth Valentine. "Time-Dependent Characteristics of Performance Evaluation." Music Perception 25, no. 1 (2007): 13–29. http://dx.doi.org/10.1525/mp.2007.25.1.13.
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CONCERTGOERS, CRITICS, TEACHERS, AND PERFORMERS are often called upon to cast judgment on the performances they hear. Research to date has typically focused on the judgments themselves, with very few empirical studies of the processes and decisions that lead to these judgments. This paper details an investigation of time-dependent characteristics of performance evaluation. Thirty-three participants were played five recordings of a Bach Prelude and five of a Chopin Prelude. They rated the quality of each performance continuously, by moving a mouse cursor on a 7-point scale displayed on a computer screen, and using written scales. The results suggest that: the time taken to reach an evaluative decision was typically short (around 15––20 s); there was a significant difference between the initial and final ratings, with a tendency for ratings to improve as the performances progressed; and the largest revisions of opinion took place within the first minute of the performance.
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Payandeh, Bijan. "Growth and Survival Functions for Three Planted Species in Northern Ontario." Northern Journal of Applied Forestry 13, no. 1 (1996): 19–23. http://dx.doi.org/10.1093/njaf/13.1.19.
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Abstract As a prelude to modeling forest regeneration in Ontario, growth and survival equations were developed for black spruce, white spruce, and jack pine. Large data sets from 18 operational outplanting and 23 plantation assessments in northern Ontario were used to construct predictive equations. These regression equations were derived by first identifying the factors affecting plantation performance via stepwise regression analysis, and then developing nonlinear regression models expressing plantation growth and survival as a function of silvicultural practices, management options, site productivity, and age. Management options included the choice of species, stock type, and planting site, while silvicultural practices consisted of site preparation, season of planting, and release operations. North. J. Appl. For. 13(1):19-23.
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Moerschbacher, B. M., P. Vander, C. Springer, U. Noll, and G. Schmittmann. "Photosynthesis in stem rust-infected, resistant and susceptible near-isogenic wheat leaves." Canadian Journal of Botany 72, no. 7 (1994): 990–97. http://dx.doi.org/10.1139/b94-124.
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Secondary leaves of three near-isogenic lines of the wheat (Triticum aestivum) cultivar Prelude, differing in their degree of resistance to the wheat stem rust fungus (Puccinia graminis f.sp. tritici) race 32, were inoculated with uredospores of the fungus 12 days after germination. Photosynthetic O2 evolution, chlorophyll content, 3-phosphoglycerate content, and the gel electrophoretic pattern of thylakoid membrane proteins were investigated in rust-infected and healthy plants of the fully susceptible isoline Prelude, the moderately resistant isoline Prelude-Sr24, and the highly resistant isoline Prelude-Sr5. The rate of net photosynthesis, expressed per unit leaf area, was not significantly changed in any of the three near-isogenic lines during the early stages of infection, then increased slightly in the highly resistant line, while decreasing in the moderately resistant and fully susceptible lines. In the moderately resistant plants, this decrease continued linearly until 8 days after inoculation when no photosynthetic activity was detectable. In the susceptible line, the decrease gradually slowed down around 4–6 days after inoculation and photosynthetic activity remained constant thereafter. The chlorophyll content decreased only slightly during infection in highly resistant plants, but chlorophyll eventually disappeared completely from the infected, moderately resistant plants. The initially similarly strong decrease in chlorophyll content in the susceptible plants gradually came to a halt during the later stages of infection. Expressed per unit chlorophyll, photosynthetic O2 evolution increased slightly in highly resistant plants, remained unchanged in moderately resistant plants, and decreased to a stable level in the susceptible plants. The infection-induced changes in the 3-phosphoglycerate content closely resembled the changes in O2 evolution. No infection-induced changes were observed in the thylakoid membrane proteins from leaves of all three isolines. The results are discussed in relation to previously described changes in the primary metabolism of the three near-isogenic wheat lines after inoculation with the stem rust fungus, namely polyamine content, fructose-2,6-bisphosphate content, respiratory activity, invertase activity, and assimilate contents. Key words: Triticum aestivum, Puccinia graminis f.sp. tritici, O2 evolution, chlorophyll, 3-phosphoglycerate, thylakoid membrane proteins.
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Herman, David. "Gabriel Josipovici." European Judaism 52, no. 1 (2019): 32–50. http://dx.doi.org/10.3167/ej.2019.520107.
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This article explores three central figures that recur in Gabriel Josipovici’s critical writing. All three are essentially solitary. First, there is the creative figure – the artist, the composer, the writer – alone in their study or studio. Second, there is a curiously impersonal figure, more elusive, harder to pin down. Not the writer or artist but an anonymous figure walking down the road, Wordsworth’s solitaries in The Prelude and Paul Klee’s Wander-Artist. And, finally, there are Jewish figures, especially from Kafka and the Hebrew Bible. What are these bare, elusive anonymous figures doing in Josipovici’s writing? Why do they come up so often, throughout his work, from the mid 1970s to the present? And are they lifeless or are they full of life, deeply human, rooted in history and literature?
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Andersen, Per. "A prelude to long-term potentiation." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1432 (2003): 613–15. http://dx.doi.org/10.1098/rstb.2002.1232.
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Searching for premonitory studies of hippocampal long-term potentiation (LTP), there is a paucity of data. While synaptic enhancement during repetitive activation was studied in several reports from many groups between 1955 and 1967, the reported after-effects were short, at the most lasting a few minutes. Responses lasting for more than 1 hour were not reported until 1973.
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Hanson, Eric, Steven Berkheimer, Annemiek Schilder, Rufus Isaacs, and Sasha Kravchenko. "Raspberry Variety Performance in Southern Michigan." HortTechnology 15, no. 3 (2005): 716–21. http://dx.doi.org/10.21273/horttech.15.3.0716.
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Seven primocane-fruiting and 15 floricane-fruiting raspberry varieties (Rubus idaeus) were compared for three fruiting seasons on a loamy sand soil in southwest Michigan. The earliest primocane-fruiting varieties (`Autumn Bliss', `Autumn Britten', `Polana') began ripening 3 weeks before the standard variety, `Heritage'. `Autumn Bliss' was the most productive early primocane-fruiting variety. `Caroline' and `Dinkum' ripened about 1 week earlier than `Heritage', and `Ruby' was 2 days later. `Caroline' was the most productive of this group and also had large fruit that were somewhat resistant to rot caused by Botrytis cinerea. `Caroline' also received the greatest leaf feeding from rosechafer beetles (Macrodactylus subspinosus). Most primocane-fruiting varieties were fairly resistant to leaf spot (Sphaerulina rubi), while `Dinkum' was highly susceptible to spur blight (Didymella applanata). Floricane-fruiting varieties were evaluated based on fruit production and quality as well as winter injury to canes, disease resistance, and feeding injury from two-spotted spider mites (Tetranychus urticae). The floricane-fruiting varieties showing minimal winter injury were `Boyne', `Killarney', `Latham', `Nova', and `Prelude'. `Canby', `Encore', `Glen Ample,', `Qualicum', `Reveille', `Titan', and `K 81-6' were moderately hardy; while `Tulameen', `Malahat', and `Lauren' were not hardy enough for this location. `Reveille', `Killarney', `Boyne', and `Prelude' were the most productive floricane-fruiting varieties. `Nova' and `Qualicum' had low levels of botrytis rot. `Nova' was most resistant to leaf spot and also had resistance to spur blight. Injury from mites was greatest on `Glen Ample' and lowest on `Malahat', `Prelude', `Qualicum', and `Tulameen'. `Caroline' (primocane-fruiting), `Prelude', and `Nova' (floricane-fruiting) were promising newer varieties.
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Tavakkol, Ehsan. "Specifics of the structure of the cycle and the musical form in the Concerto for Persian Ney and Orchestra «Toward That Endless Plain» by Reza Vali." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 185–201. http://dx.doi.org/10.34064/khnum1-59.13.
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The article considers the peculiarities of the structure of the cycle and the form of the Concerto for the Persian Ney with Orchestra «Toward That Endless Plain» by the modern Iranian-American composer of the XX–XXI centuries Reza Vali (b. 1952). It was found that the unusual structure and musical form of this Concert are manifested in the combination between traditional Western European principles of cycle composition with the principles of musical form each part that is characteristic of classical Iranian music. The cycle of the Concerto is three-part with additional sections. This model of a solo concerto has developed in the European musical tradition. However, due to the author’s program the structure of the cycle, in general, is extremely specific (Tavakkol, 2019: 271). It was found that the specifics of the structure of the cycle is the introduction of two additional sections, marked as “Prelude” (set out before Part I) and “Interlude” (placed between Parts II and III). It is established that each of the three parts and additional sections are set out in a peculiar form inherent in Iranian classical music: Parts I and III are composed in mosaic form, Part II is written in the form of nobats; “Prelude” and “Interlude” are created in Ternary form. It is revealed that the arched principle (the principle of symmetry) in the construction of the cycle is found between “Prelude” and “Interlude”, as well as between I and III parts. The alternation of tempo characteristics of the parts is revealed in the general composition of the cycle. The I and III parts have a slow tempo and the II part has a fast. (this kind of contrast between parts is not typical for the genre of a solo concert of Western European music). Two principles in the organization of the composition cycle and the form of individual parts are highlighted. It is proved that R. Vali’s choice of a specific composition of the cycle, the form of parts and additional sections, as well as the use of tempo of each part, is due to the concert program, which is a kind of interpretation of the meaning contained in the poem by S. Sepehri. The music of the work is closely connected with the program. All parts of the Concerto have titles in Persian and English, which are based on the postulates of mystical philosophy and Sufism. Prelude and Interlude, which are associated with images of the material world – aggression and war. In comparison with the saturated, solid sound of the Prelude and Interlude, the delicate sparsity of the three main parts of the cycle are meant to reveal the spiritual life of humanity (Tavakkol, 2020: 113–117).
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Landy, Francis. "The Ghostly Prelude to Deutero-Isaiah." Biblical Interpretation 14, no. 4 (2006): 332–63. http://dx.doi.org/10.1163/156851506777825278.
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AbstractThe article is a close reading of Isa. 40:1-11, which focuses on its function as a prologue to Deutero-Isaiah, and hence distinguished by its promise of a new beginning, and on its dependence on, and reversal of, the past, the spectral voices it seeks to repatriate. It is concerned with the secondariness of Deutero-Isaiah, and the consequent ambiguity of its messages. The voice of the poet/prophet is refracted through disembodied voices, which themselves cite other voices, before finally adopting that of the female herald, through whom the advent of God becomes manifest, only to be indefinitely deferred through metaphor and simile. In the background there is the frequently asserted relationship with Isaiah 6 as a metapoetic key to the book. Does its purview extend to Isaiah 40, and is the message of comfort conveyed by Deutero-Isaiah subverted by the incomprehensibility mandated by it? The complexities of the passage, and hence of the book as a whole, require attention to the detail of each its parts, but also to its fragmentariness, as it seeks to reconstruct a fractured reality. This is achieved in part through the emphasis on the materiality of the voice, as flesh (basar) and sonority, and as the matrix (mebasseret) of the future. The analysis proceeds from the voice of maternal comfort in vv. 1-2, to the announcement of the way and the universal theophany in vv. 3-5, to the pathos of transience in vv. 6-8, and finally to the deferred resolution in vv. 9-11. In the conclusion I discuss the relation of the text to the Freudian uncanny, the correspondence and non-correspondence with chapter 6, and the question of the relationship between historical and literary approaches.
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Sato, Shigeru. "Indonesia 1939–1942: Prelude to the Japanese Occupation." Journal of Southeast Asian Studies 37, no. 2 (2006): 225–48. http://dx.doi.org/10.1017/s0022463406000531.
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In the conventional historiography of Indonesia, the Second World War is equated with the Japanese occupation, and 1942 is a year of sudden change. This article argues that there was a prelude to these conditions. Changes in the global economic structure due to the Second World War, and countermeasures by the state authorities, began well before the Japanese invasion. The fundamental problem was the gradually deepening economic isolation that necessitated state intervention.
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Burrowes, Robert D. "Prelude to Unification: The Yemen Arab Republic, 1962–1990." International Journal of Middle East Studies 23, no. 4 (1991): 483–506. http://dx.doi.org/10.1017/s0020743800023382.
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On 22 May 1990, the Yemen Arab Republic (YAR) and the People's Democratic Republic of Yemen (PDRY) carried out their old pledge to unite into a single Republic of Yemen. This historic event occurred less than three years after the YAR, seemingly secure and comfortable in its separateness, celebrated its silver jubilee in 1987. This article traces and assesses political development and socioeconomic modernization in the YAR over this more than 25-year period, and hazards some guesses on the implications of these changes for current efforts to implement Yemeni unification.
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Ward, Michael E., and Richard F. Meyerhein. "Diethyl Ether, a Chemical Asphyxiant Used as a Prelude to Homicide: A Report of Three Cases." Journal of Forensic Sciences 42, no. 2 (1997): 14126J. http://dx.doi.org/10.1520/jfs14126j.
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Pathania, Vikas, Sunmeet Sandhu, Durga M. Tripathy, and Bhavni Oberoi. "Cutaneous Metastasis: A Prelude to a Sinister Outcome." Asian Journal of Oncology 6, no. 01 (2020): 35–40. http://dx.doi.org/10.1055/s-0040-1702909.
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AbstractCutaneous metastasis is an uncommon presentation of primary internal malignancy presenting for dermatology cross-referrals with an incidence ranging from 0.7 to 10%. It may be the first presentation of an underlying primary malignancy. The primary may remain unknown in up to 3 to 5% cases. Detailed evaluation of clinical presentation with emphasis on cytomorphological features, immunohistochemistry, and imaging aids in identification of an unknown primary. Incidence of leukemia cutis has been reported to be as high as 22% and is associated with poor prognosis. In majority of the patients, presentation of cutaneous metastasis signifies advanced disease with ominous outcome. It correlates with either treatment failure or reoccurrence of previously treated malignancy. Though cutaneous metastatic lesions are amenable to early visual detection, this entity may be easily mistaken for common dermatological conditions and hence goes unrecognized. Lesions of cutaneous metastasis may bear therapeutic and prognostic implications. Therefore, a very high index of suspicion is warranted to accurately and timely diagnose such manifestations of hidden malignancies. We report three such cases that highlight the protean manifestations of internal malignancies.
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Lente, Ádám. "effect of agrotechnological factors and the cropping season on sweetcorn (Zea Mays L. convar. saccharata Koern.) production in a humid year." Acta Agraria Debreceniensis, no. I (October 5, 2010): 146–51. http://dx.doi.org/10.34101/actaagrar/i/8393.
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We have examined the effect of three agrotechnological factors (sowing time, fertilization, crop density) and four genotypes on the yieldof sweetcorn on chernozem soil in the Hajdúság region in 2009. The experiment was set up at the Látókép Research Site of the University ofDebrecen. We have included two sowing times (27 April, 26 May), six nutrition levels (control, N30+PK, N60+PK, N90+PK, N120+PK,N150+PK) and four genotypes (Jumbo, Enterprise, Prelude, Box-R) at two crop density levels (45 thousand ha-1).In the humid cropyear of 2010 the amount of precipitation exceeded the 30-year average by 184 mm in the cropping season; the averagetemperature exceeded the same by 0.8 C on the average of the examined months. The circumstances were most favourable for sweetcornproduction with the first sowing time, thus, this was when the yield of all hybrids was the highest.With early sowing time, the highest yield (23437 kg ha-1 yield) was obtained with Enterprise at 45 thousand ha-1 crop density level atN150 + PK nutrition level. The highest yield of the other three hybrids was 22253 kg ha-1 (Jumbo) 22286 kg ha-1 (Box-R) and 1873 kg ha-1(Prelude). With the second sowing time, the highest yield was obtained with Enterprise again (22237 kg ha-1) at 65 thousand ha-1 cropdensity level. With this sowing time the yield of Jumbo, Box-R and Prelude was 20888 kg ha-1, 17796 kg ha-1 and 17401 kg ha-1, respectively.We found that the highest yield was obtained at the highest nutrition levels (N120 + PK, N150 +PK) with the first sowing time, while the samewas obtained at lower nutrition levels (N90 + PK, N120 + PK) with the second sowing time.
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Calderón-Vázquez, Carlos, Mary L. Durbin, Vanessa E. T. M. Ashworth, Livia Tommasini, Kapua K. T. Meyer, and Michael T. Clegg. "Quantitative Genetic Analysis of Three Important Nutritive Traits in the Fruit of Avocado." Journal of the American Society for Horticultural Science 138, no. 4 (2013): 283–89. http://dx.doi.org/10.21273/jashs.138.4.283.
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Avocado (Persea americana) is a subtropical tree prized for its large and nutritious fruit. Although native to Mesoamerica, avocado is now grown in tropical and subtropical regions around the world, and consumer demand for avocado continues to grow at a considerable rate. Despite the appeal of avocado, its genetic improvement has been slow owing to substantial land and labor requirements combined with the fact that young trees do not produce fruit for several years and a pollination system that makes it difficult to produce genetic crosses. Molecular markers promise to accelerate the rate of breeding progress, especially for simple traits of high heritability. One of the distinguishing features of the avocado fruit is the presence of a number of compounds that have been linked to human health. As a prelude to the use of molecular markers for the improvement of nutritional traits, this article reports estimates of the heritability of carotenoids, β-sitosterol, and α-tocopherol content (the most biologically active form of vitamin E) in ripe avocado fruit. Each of these three compounds has been linked to beneficial health outcomes, and each is shown to have a sufficiently high heritability to predict successful marker-assisted selection.
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Goodchild, Meghan, Bruno Gingras, and Stephen McAdams. "Analysis, Performance, and Tension Perception of an Unmeasured Prelude for Harpsichord." Music Perception 34, no. 1 (2016): 1–20. http://dx.doi.org/10.1525/mp.2016.34.1.1.
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This study focuses on the relationships between music analysis, performance, and tension perception. Part 1 examines harpsichordists’ analyses and performances of an unmeasured prelude—a semi-improvisatory genre open to interpretive freedom. Twelve harpsichordists performed the Prélude non mesuré No. 7 by Louis Couperin on a harpsichord equipped with a MIDI console and submitted a formal analysis. Using a curve-fitting approach, we investigated the correspondence between analyzed segmentations and group-final lengthening. We found that harpsichordists also employed “group-final anticipation,” involving deceleration before, and acceleration through, analyzed boundaries. In Part 2, three listener groups (harpsichordists, musicians, and nonmusicians) continuously rated tension for 12 performances. In contrast to measured music, local tension peaks, rather than troughs, occurred at boundaries featuring group-final lengthening. Associations were found between global tempo and tension ratings, with significant differences among the three listener groups. Performers expressed the large-scale structure through the amount of tempo variability, which was also reflected in tension rating variability.
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Koslovsky, John. "Tristan und Isolde at the Margins of Music-Analytical Discourse: A Dialogic Perspective." Music Theory and Analysis (MTA) 8, no. 1 (2021): 88–113. http://dx.doi.org/10.11116/mta.8.1.4.
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Whether or not the Prelude to Richard Wagner's 1859 music drama Tristan und Isolde is the most analyzed piece in the history of Western music, owing to its ongoing canonical status, it behooves us to consider how it has affected the field of music analysis over the past 150 years. More than any other piece, Wagner's Prelude is able to expose the many conflicts that arise between analytical approaches: while it can demonstrate the limits of one particular approach vis-à-vis another, it may also reveal new potentialities that divergent analyses offer when seen from an intertextual point of view.<br/> As a test case, this article will position three contemporaneous analyses of the opening measures of the Prelude against one another: Horst Scharschuch's post-Riemannian harmonic analysis and Jacques Chailley's style-historical analysis, both from 1963, and William Mitchell's Schenkerian analysis of 1967. Drawing on Mikhail Bakhtin's concepts of "dialogism" and "heteroglossia," I will trace a broader historiographical and intertextual network surrounding the history of analyzing Tristan, with the goal of refocusing our analytical priorities around this work and penetrating the continuities and discontinuities between competing analyses. In this way, the article aims at opening up a further dialogic space in music analysis, both in our historical considerations and in the way we approach analysis as an intertext—that is, by traversing the fissures in the reified verities of a "unified" analysis and the multiple interpretative transpositions underlying our deciphering of analytical texts. It will conclude by offering yet another interpretation of Wagner's famous chord.
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Schirawski, Jan, Bernadette Heinze, Martin Wagenknecht, and Regine Kahmann. "Mating Type Loci of Sporisorium reilianum: Novel Pattern with Three a and Multiple b Specificities." Eukaryotic Cell 4, no. 8 (2005): 1317–27. http://dx.doi.org/10.1128/ec.4.8.1317-1327.2005.
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ABSTRACT Sporisorium reilianum and Ustilago maydis are two closely related smut fungi, which both infect maize but differ fundamentally in their mode of plant invasion and site of symptom development. As a prelude to studying the molecular basis of these differences, we have characterized the mating type loci of S. reilianum. S. reilianum has two unlinked mating type loci, a and b. Genes in both loci and adjacent regions show a high degree of synteny to the corresponding genes of U. maydis. The b locus occurs in at least five alleles and encodes two subunits of a heterodimeric homeodomain transcription factor, while the a locus encodes a pheromone/receptor system. However, in contrast to that of U. maydis, the a locus of S. reilianum exists in three alleles containing two active pheromone genes each. The alleles of the a locus appear to have arisen through recent recombination events within the locus itself. This has created a situation where each pheromone is specific for recognition by only one mating partner.
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S, Munisha Murali, and Sheeba S. "A PRELUDE ON THE BIOLOGY OF PUNTIUS AMPHIBIUS." Kongunadu Research Journal 4, no. 1 (2017): 69–72. http://dx.doi.org/10.26524/krj179.
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Knowledge on fish biology is essential for improving aquaculture. The present study was focused on the biology of Puntiusamphibius. The fishes were collected from a freshwater body in parlance known as “Arappa”, located in Thalikulam at Thrissur district in Kerala. This water body is in the vicinity of the sea anddebouches into the marine during monsoon season. In the present investigation 106 fishes were collected during March to August 2006. The study revealed that there was no significant difference observed among the length weight relationship of males and females. Composition of gut content showed that it is a selectivefeeder of Bacillariophyceae and a pronounced omnivore. The gastro-somatic index of female and male was high during May indicating the active feeding during breeding.The sex ratio between males and females was variable and female dominated over males. The fecundity of fish was proportional to the weight of the ovary. Gonado-somatic index was comparatively high during spawning seasons. This is a preliminary lesson on the reproductive biology and certain distinctive characters such as length-weight and food and feeding habits of Puntius amphibius.
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Bedell, Barry J., D. Scott Bohle, Zhijie Chua, Alexander Czerniewski, Alan C. Evans та Shadreck Mzengeza. "Novel β-galactosidase-specific O2-glycosylated diazeniumdiolate probes". Canadian Journal of Chemistry 88, № 9 (2010): 969–80. http://dx.doi.org/10.1139/v10-087.
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Three β-galactosidase-specific nitric-oxide-releasing diazeniumdiolate conjugated probes were prepared as a prelude to studies of new potential molecular MRI imaging agents. A glycosylated derivative, 2e, designed to be trafficked across cell membranes, was also prepared. We report, in detail, the synthesis and characterization of these probes. In addition, the release of diazeniumdiolate from the probes by β-galactosidase-catalyzed hydrolysis was used to estimate their efficacy as serum-stable, specific NO donors.
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Banionis, Juozas. "Prelude to lithuanian mathematical studies: Higher courses in Kaunas." Lietuvos matematikos rinkinys 61 (March 15, 2021): 15–20. http://dx.doi.org/10.15388/lmr.2020.22454.
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As soon as the young Lithuanian state was formed, the international situation was unfavorable (the war of independence took place) and as a result its internal life was burdened by difficulties. Therefore, the Lithuanian intelligentsia (one of their leading mathematicians Z. Žemaitis) took the initiative to organize Higher Courses (AK) in the temporary capital Kaunas. These universal courses, equivalent to the type of higher education institution (university), existed in 1920– 1922. According to the adopted statute, there were six chapters covering the basic sciences - humanities, social sciences and natural or real sciences. The existence of the latter sciences was evidenced by the Department of Mathematics and Physics, where there was an opportunity to study mathematics in Lithuanian. This article shows the circumstances of the establishment of AK, the conditions of their activity, introduces the lecturers of mathematics and shows the composition of the listeners, as well as reveals the content of mathematics studies and names the literature used for studies. During the two years of AK's existence, a solid foundation was laid for the future Lithuanian University (since 1930 – Vytautas Magnus). The staff formed consisted mainly of 1922. the core of the developing university, and the first scientific aids, books and premises were acquired - the base of the higher school. For the first time in its history, AK turned Kaunas into a university city, and the departments operating in them laid the foundations for the establishment of the university, as well as the Faculty of Mathematics.