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Dan, Enyi. "The semantics of the names of Luo Maishuo’s Piano Etudes as the transformation of traditional national images." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (December 28, 2023): 104–22. http://dx.doi.org/10.34064/khnum1-69.05.
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Statement of the problem. Recent research and publications. Chinese composers, influenced by European musical norms since the late 19th century, face a critical challenge in navigating their national traditions within academic music. China piano music is a progressive sphere, which allows to identify and analyze the most relevant directions of creative searches of Chinese composers. The work of individual representatives of the piano composer school, including Luo Maishuo, is still incompletely studied. Luo Maishuo’s leadering positions in China piano music is determined by adept fusion of traditional and contemporary components in his work. Researching his programmatic compositions with the viewpoint of their semantics provides a perspective for understanding the intricate connections between Chinese musical heritage and national mentality and philosophy. The works dedicated to Luo Maishuo’s creativity are represented by Bian Jingjing’s (2016) and Wang Aiguo’s (2009) articles, as well as Huang Zhongjun’s (2020) and Zhuang Junjie’s (2021) studies, which reveal the composer’s contribution to the Chinese piano music. However, it is necessary to research such a phenomenon as the semantic component of various genre samples in his piano music in the aspect of preserving traditional culture. Obiectives, methods, and novelty of the research. The purpose of this article is to analyze the semantics of the names Luo Maishuo’s piano etudes in order to reveal the process of transformation of national musical traditions in his music and to determine the connections between the content of the works and the traditional cultural contexts. The innovative aspect of the research is the first analysis of Luo Maishuo’s piano etudes in view of the reflection of national cultural patterns in the program titles of his works; the study is designed to determine how the composer embodies the principle of preserving national musical traditions through the symbolic semantics of the names of his etudes. This new perspective allows not only to present Luo Maishuo’s work as a bright page of musical history, but also to reveal his role in the preservation and reinterpretation of national cultural concepts through program music. The historical and cultural approach made it possible to present the broad context of cultural, historical and social realities, the philosophical and cultural background of traditional values reflected in the titles of the composer’s works. Semantic and musicological types of analysis were used to consider the symbolism and imagery of etudes, and to select the illustrative musical fragments. In addition, we relied on the key propositions of Lu Jie’s dissertation (2017: 6–7), who believes that “the terms ‘concept’ and ‘conceptosphere’ are appropriate for revealing the way of thinking of Chinese musicians”. which is “different from European transcendental dimensions”. Research results. The article considers Luo Maishuo’s cycle of 12 Etudes, which consists of two equal parts. The first part (6 Etudes op. 19) was created in 2010–2011, the second (6 Etudes op. 3) – in 2013–2016. Their visual and semantic features are reflected in the program titles, which represent the original fusion of national and non-national elements. Op. 19: 1. “Music of the wind”, 2. “Flea”, 3. “Wind”, 4. “Running water”, 5. Basso ostinato, 6. Fugue; Op. 23: 1. “Circle"” 2. “Contrast”, 3. “Bamboo”, 4. “F 1”, 5. “Painting with ink”, 6. Variations. The titles of some works refer to certain genres of European music (Basso ostinato, Fugue, Variations); “F 1” – to extremely high speeds of ring races in “Formula-1”. The names of the rest of the etudes are related to the national theme expressed either as a comparison with specific iconic phenomena (“Wind Music”, “Bamboo”, “Painting with ink"), or more indirectly, through ideas-images of Chinese philosophy (“Circle”, “Contrast”). Our attention is focused on the names of the First book of Etudes (op. 19), indicative in the aspect of belonging to the Chinese national tradition. Some of them, according to Lu Jie’s classification (2017: 8), represent the conceptual sphere of nature (Etudes No. 1, 3, 4) and direct the imagination of the performer and listener to its eternal primordial forces, the images of which are deeply rooted in the folklore of various peoples of the world, in particular, in the Chinese national tradition. The latter interprets them in a very original way: the images of wind and running water, widespread in Chinese culture, are primarily associated with deep philosophical ideas about the essence of the world. The image of water is also likened to one of the highest moral values – kindness – and is combined with the Tao. An illustration of the multidimensionality of hidden subtexts can be considered the title of the first Etude op. 19 –“Wind Music”, which refers not only to the sphere of nature, but also to another conceptual sphere of the Chinese tradition – “ritual” (ceremonial). This name is related not only to the image of the wind as such, but also to the fairly common practice of installing small bells under the roofs of temples that ring when there is a current of air. The Etude’s piano texture, based on alternating hands in the upper register, almost reproduces their sound. Conclusion. Luo Maishuo’s cycle of Etudes occupies a special place in the modern piano culture of China. The composer, presenting a practical “artistic study” of the techniques of modern pianism, created one of the most ambitious projects in the instrumental etude genre. At the same time, the traditional national component is realized by an extremely multifaceted way: the names of the compositions appeal both to philosophical and generalized concepts and to the images-symbols characteristic of China culture. Such approach allows to consider the cycle as a kind of “catalogue” of signs characteristic of the national tradition.
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Gumarov, Marat. "Sonatina For Piano For 4 Hands D. Ligeti." Eurasian music science journal 2018, no. 1 (2018): 12–26. http://dx.doi.org/10.52847/eamsj/vol_2018_issue_1/a3.
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Burge, David, and George Crumb. "Celestial Mechanics (Makrokosmos IV): Cosmic Dances for Amplified Piano, 4 Hands." Notes 45, no. 4 (June 1989): 859. http://dx.doi.org/10.2307/941246.
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 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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Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (December 20, 2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.
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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.
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Комаров, А. В. "Tchaikovsky as the Author of Piano Arrangements of His Own Compositions." Научный вестник Московской консерватории, no. 2(33) (June 22, 2018): 94–125. http://dx.doi.org/10.26176/mosconsv.2018.33.2.05.
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С фортепианными переложениями как неотъемлемой частью музыкальной культуры XIX века Чайковский был связан на протяжении всей жизни. Обширную часть наследия композитора составляют переложения для фортепиано в 2 и 4 руки его собственных сочинений и произведений других авторов. Но если последние перекладывались Чайковским преимущественно в силу различных внешних обстоятельств, то переложениям собственных сочинений композитор уделял всегда особое внимание. Круг музыкантов, пользовавшихся доверием композитора в этом отношении, был весьма невелик и с течением времени неуклонно сужался. Чайковский стремился перекладывать свои сочинения самостоятельно, несмотря на постоянные жалобы на несовершенство переложения как формы представления оркестрового произведения и различные трудности при его создании. Всего композитором переложены более сорока его собственных сочинений. Помимо определенного этапа в истории самих произведений, переложения становились также частью фортепианного наследия Чайковского. Композитор неизменно настаивал на творческом характере создания переложений. В качестве примеров работы Чайковского в предлагаемой статье подробно рассмотрены переложения трех оркестровых сюит для фортепиано в 4 руки. With piano arrangements as an integral part of the musical culture of the XIX century, Tchaikovsky was associated for all his life. A large part of the composer’s legacy consists of arrangements for piano in 2 and 4 hands of his own compositions and works by other authors. But if Tchaikovsky made the latter ones mainly due to various external circumstances, he always paid special attention to the arrangements of his own compositions. The circle of musicians who enjoyed the composer’s confidence in this respect was very small and with time steadily narrowed. Tchaikovsky tried to make piano arrangements himself, despite the constant complaints about the imperfection of the transposition as a form of representation of the orchestral work and various difficulties in creating it. In total more than 40 of his own compositions have been arranged for piano by the composer. In addition to a certain stage in the history of the works themselves, the arrangements also became part of Tchaikovsky’s pianistic heritage. The composer invariably insisted on the creative nature of piano arrangements. In the proposed paper the four hands piano arrangements of three orchestral suites are considered in detail as examples of Tchaikovsky’s approach.
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GONZALEZ, M. H., J. WHITTUM, M. KOGAN, and N. WEINZWEIG. "Variations of the Flexor Digitorum Superficialis Tendon of the Little Finger." Journal of Hand Surgery 22, no. 2 (April 1997): 277–80. http://dx.doi.org/10.1016/s0266-7681(97)80082-4.
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Seventy cadaveric hands were dissected to study variations of the flexor digitorum superficialis tendon (FDS) to the little finger. Anatomical variations were present in 13% of hands and 10% of the hands showed an anatomical variation that would preclude independent FDS function in the little finger. The distance of the decussation from the metacarpophalangeal joint was measured. A ratio of this distance to proximal phalangeal length was calculated. The ratio indicated that decussation position was independent of phalangeal size.
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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.
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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
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KOMIYAMA, M., T. M. NWE, N. TOYOTA, and Y. SHIMADA. "Variations of the Extensor Indicis Muscle and Tendon." Journal of Hand Surgery 24, no. 5 (October 1999): 575–78. http://dx.doi.org/10.1054/jhsb.1999.0239.
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Variations of the extensor indicis muscle were examined in 164 hands from 86 Japanese cadavers. Anomalous cases exhibiting supernumerary muscles or tendons were found in 22 hands. These variations were classified into four types: type 1, an additional tendon slip from the extensor indicis tendon; type 2, an extensor indicis radialis or extensor pollicis et indicis accessorius; type 3, an extensor medii proprius with or without extensor medii brevis; and type 4, an extensor indicis radialis and extensor medii proprius. The extensor medii proprius was the most common variation, followed by extensor indicis radialis. There were no clear differences in incidence of variations between men and women or between right and left hands. When variations were bilateral, both sides were identical or similar in type.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (April 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Indyana, Luth. "TWINKLE-TWINKLE VARIATION 6 TO 12 KARYA W. A. MOZART DALAM TINJAUAN VARIASI MELODI DAN TEKNIK PERMAINAN INSTRUMEN PIANO." Repertoar Journal 1, no. 2 (June 17, 2021): 333–46. http://dx.doi.org/10.26740/rj.v1n2.p333-346.
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Twinkle-Twinkle in 12 Variations karya W. A. Mozart memiliki 12 variasi melodi dengan karakteristik satu dengan lainnya. Penelitian dilakukan pada variasi 6-12 karena pada variasi tersebut terdapat banyak kompleksitas mulai dari variasi melodi hingga teknik permainan piano. Peneliti menggunakan dua pendekatan yaitu pendekatan kualitatif dan pendekatan musikologi. Hasil analisis didapat, Mozart menggunakan 4 bentuk variasi melodi yaitu Variation Rhythmic and Fake Rhythmic, Melodic Variation and Fake, variasi harmoni, dan variasi polifon. Selain itu, Mozart menggunakan 6 macam teknik permainan piano: power, speed, scales, trill, legato dan staccato. Hasil penelitian menunjukkan bahwa semakin beragam variasi yang digunakan, maka semakin kompleks pula teknik permainan yang harus diaplikasikan dalam repertoar tersebut. Hal ini pula yang ditunjukkan dan menjadi kekhasan dalam œTwinkle-Twinkle W. A. Mozart, dimana pada variasi 6-12 memiliki beragam variasi melodi yang harus didukung dengan kompleksitas teknik permainan piano dalam pengaplikasiannya.Kata Kunci : Mozart, Periode Klasik, Piano, Teknik Permainan, Variasi Melodi
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Zakharbekova, Irina S. "The theme of childhood in French 19th-century music: a first-time overview." Contemporary Musicology, no. 4 (2019): 3–32. http://dx.doi.org/10.56620/2587-9731-2019-4-003-032.
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The paper describes piano and vocal music of the 19th-century French composers – Ch. Alkan, Ch. Gounod, J. Bizet, and G. Fauré. The research does not focus that much on the analysis of musical language of selected works, rather, it explores their historical and cultural context as well as some of the reasons for their appearance. The theme of childhood in the 19th-century French musical culture has a special role. It naturally follows from the general attention to childhood demonstrated by philosophers, educators, and writers of the 18th-19th centuries, and has several ideas behind. Firstly, an idea of educating a music lover. The Biedermeier style (in its French version) and the fashion for domestic music-making created a demand for easy and convenient pieces for solo and ensemble performance. The priority was given to piano four-hands and songs for voice and piano. Secondly, the opening of Paris Conservatory, numerous other music education institutions as well as private music classes required the development of educational material for beginner musicians of different ages. Thirdly, this is a special vision of composers that combined naivety, humor and nostalgia. This mix does not only shape the imagery of selected works, but also the composer’s preference for certain genres, forms and systems of expressive means. To conclude it should be noted that the theme of childhood in the 19th-century French music is a remarkable phenomenon worthy of further consideration.
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Biswas, Krishna Kanta, Rupak Jyoti Baishya, and Kunjalal Talukdar. "A study on variations of branching patterns of median nerve in the carpal tunnel." National Journal of Clinical Anatomy 06, no. 03 (July 2017): 193–97. http://dx.doi.org/10.1055/s-0039-1700746.
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Abstract Background & aims: The carpal tunnel, located on the palmar surface of the wrist, is a common site of median nerve compression. The median nerve, on passing through the carpal tunnel, divides into lateral and medial branches. The lateral branch then gives off proper palmar digital branches to the thumb and the radial aspect of the index finger, and a recurrent muscular branch to the thenar muscles. The recurrent muscular branch shows different types of variations of the median nerve. Also, there are other variations of the median nerve in the carpal tunnel. These variations greatly influence the symptoms, as well as the treatment of the carpal tunnel syndrome. So, the present work is carried out to study the variations of branching patterns of median nerve in the carpal tunnel. Materials and methods: 40 wrists [20 right and 20 left] from 20 formaldehyde fixed human perinatal fetuses of 34 - 38 weeks of gestation were dissected in the Department of Anatomy, Gauhati Medical College and Hospital, Guwahati. Due ethical clearance was obtained from the Institutional Ethical Committee, Gauhati Medical College and Hospital, Guwahati. Results: In the present study, 24 [66.7%] hands [11 right and 13 left] showed extraligamentous and 12 [33.3%] hands [8 right and 4 left] showed transligamentous variety of thenar branch of median nerve. Also, 4 [10%] hands showed accessory thenar branch of median nerve, all of which took origin within the flexor retinaculum. The comparisons of numbers of variations of thenar branch of median nerve between right and left hands were found to be statistically non significant [P > 0.05]. Conclusion: A detailed knowledge of the median nerve variations in the carpal tunnel is required for successful diagnosis and treatment of the carpal tunnel syndrome and its complications.
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Sakai, Naotaka. "Interosseous Muscle Pain in the Pianist's Hand: A Description of 27 Cases of Musician's Hand." Medical Problems of Performing Artists 22, no. 1 (March 1, 2007): 24–25. http://dx.doi.org/10.21091/mppa.2007.1005.
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Among 703 professional pianists with medical problems in their hands seen by the author between 1981 and 2000, there were 27 patients who had interosseous muscle pain (23 women, 4 men; mean age, 30 yrs). The main symptom was dorsal hand pain during piano performance, especially when striking the keys with each finger rounded, mainly in the scale technique. Tenderness was noted in the deep part of the dorsal hand in the interosseous muscles, but not along or around the finger extensors. Patients sometimes complained of muscle weakness on abduction of the index, ring, and/or little fingers when performing octaves or chords on the piano keyboard. Resisted abduction and adduction testing of the fingers reproduced the pain which they experienced during or after performance. Pain occurred in the right hand in 10, left hand in 5, and bilaterally in 12. The pain was localized in the 4th and 5th interossei in 15 patients, in the 3rd and 4th in 14 patients; in the 2nd and 3rd in 11 patients; and in the 1st and 2nd in 1 patient.
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Johnson, Bret. "Ernst Toch’s symphonies." Tempo 60, no. 235 (January 2006): 43–44. http://dx.doi.org/10.1017/s0040298206300046.
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TOCH: Complete Symphonies. Rundfunk-Sinfonieorchester Berlin c. Alun Francis. Three CDs, available separately: Nos. 1 and 4: cpo 999 774-2; Nos. 2 and 3: cpo 999 705-2; Nos. 5, 6 and 7: cpo 999 389-2.TOCH: Piano Concerto No. 1, op. 38; Peter Pan, op. 76; Pinnochio Overture; ‘Big Ben’ Variations, op. 62. Todd Crow (pno), NDR Hamburg Symphony Orchestra c. Leon Botstein. New World Records 80609-2.
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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.
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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.
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Boettcher, Bonna J., Dallas A. Weekley, and Nancy Arganbright. "Schubert's Music for Piano Four-Hands: A Comprehensive Guide to Performing and Listening to the Dances, Fantasies, Marches, Polonaises, Sonatas, Variations, Waltzes and Other Duets." Notes 48, no. 2 (December 1991): 521. http://dx.doi.org/10.2307/942065.
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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.
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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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GONZALEZ, M. H., J. NIKOLEIT, and N. WEINZWEIG. "The Chiasma of the Flexor Digitorum Superficialis Tendon." Journal of Hand Surgery 23, no. 2 (April 1998): 234–36. http://dx.doi.org/10.1016/s0266-7681(98)80182-4.
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Forty cadaver hands (160 fingers) were dissected to study the morphology and variations of the chiasma of the flexor digitorum superficialis tendon. Ten types of chiasma were noted. One chiasma did not fit into any of the patterns. The long and ring fingers had a very similar distribution of types of chiasma but the index and small both had different patterns. The length of chiasma showed a marked variability which appeared to be independent of phalangeal length.
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Seo, Juri. "Playing Babbitt by Ear: How I Composed More Semi-Simple Variations, Intermezzo, and Fugue on a Theme by Milton Babbitt for Piano Four-Hands." Contemporary Music Review 40, no. 2-3 (May 4, 2021): 319–27. http://dx.doi.org/10.1080/07494467.2021.1989224.
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Swenson-Eldridge, Joanne. "Six Bagatelles: for Solo Viola, and: Rhapsodic Variations No. 4: for Solo Viola, and: Sonate: pour alto seul, and: Requiescat: for Viola and Piano, and: Tinuviel's Dance: pour alto & piano, and: Urizen: for Viola and Piano (review)." Notes 59, no. 2 (2002): 453–58. http://dx.doi.org/10.1353/not.2002.0196.
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Johnson, Bret. "American Music." Tempo 57, no. 226 (October 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.
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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.
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Lee, Chul-Hyung, and Cheol-U. Kim. "Delayed Repair of Severed Thenar Branch with Transligamentous Variation after Open Carpal Tunnel Release." Journal of Hand Surgery (Asian-Pacific Volume) 24, no. 04 (November 5, 2019): 494–97. http://dx.doi.org/10.1142/s2424835519720214.
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A 49-year-old female patient with carpal tunnel syndrome at both hands was performed open carpal tunnel release. 4 months later, on the left hand, severance of the thenar branch was found by electromyography. On the 138th day, re-exploration was performed for direct nerve repair. During exploration, we identified the transligamentous variation of recurrent motor branch. Direct nerve repair was successful. At 6 months after direct repair, the nerve function began to return. At 2 years after direct repair, the nerve function has almost returned. There are some variations on the recurrent motor branch. And we overlooked transligamentous variation when we perform more decompression around the median nerve. It is important that recognize variations of thenar branch when we perform carpal tunnel release for not occurrence of severance of thenar branch.
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Mits, Oksana. "The genre of the piano miniature in the creative work of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 136–48. http://dx.doi.org/10.34064/khnum1-50.10.
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Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.
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Yokoi, Atsushi, Wenjun Bai, and Jörn Diedrichsen. "Restricted transfer of learning between unimanual and bimanual finger sequences." Journal of Neurophysiology 117, no. 3 (March 1, 2017): 1043–51. http://dx.doi.org/10.1152/jn.00387.2016.
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When training bimanual skills, such as playing piano, people sometimes practice each hand separately and at a later stage combine the movements of the two hands. This poses the critical question of whether motor skills can be acquired by separately practicing each subcomponent or should be trained as a whole. In the present study, we addressed this question by training human subjects for 4 days in a unimanual or bimanual version of the discrete sequence production task. Both groups were then tested on trained and untrained sequences on both unimanual and bimanual versions of the task. Surprisingly, we found no evidence of transfer from trained unimanual to bimanual or from trained bimanual to unimanual sequences. In half the participants, we also investigated whether cuing the sequences on the left and right hand with unique letters would change transfer. With these cues, untrained sequences that shared some components with the trained sequences were performed more quickly than sequences that did not. However, the amount of this transfer was limited to ∼10% of the overall sequence-specific learning gains. These results suggest that unimanual and bimanual sequences are learned in separate representations. Making participants aware of the interrelationship between sequences can induce some transferrable component, although the main component of the skill remains unique to unimanual or bimanual execution. NEW & NOTEWORTHY Studies in reaching movement demonstrated that approximately half of motor learning can transfer across unimanual and bimanual contexts, suggesting that neural representations for unimanual and bimanual movements are fairly overlapping at the level of elementary movement. In this study, we show that little or no transfer occurred across unimanual and bimanual sequential finger movements. This result suggests that bimanual sequences are represented at a level of the motor hierarchy that integrates movements of both hands.
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Ebata, Tatsuki, Katsumi Imai, Susumu Tokunaga, Yuji Takahasi, and Yoshihiro Abe. "THUMB OPPOSITION IN SEVERE CARPAL TUNNEL SYNDROME WITH UNDETECTABLE APB-CMAP." Hand Surgery 19, no. 02 (January 2014): 199–204. http://dx.doi.org/10.1142/s0218810414500208.
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Thumb opposition does not always represent the function of the median nerve due to variations in thenar muscle innervation. One hundred and thirty hands of 109 idiopathic carpal tunnel syndrome (CTS) patients with an undetectable compound muscle action potential of the abductor pollicis brevis (APB-CMAP) were classified into one of four groups; Type 1 (86.2%) had thenar muscle atrophy and could not perform thumb opposition; Type 2 (10.8%) had thenar muscle atrophy but could perform thumb opposition; Type 3 (2.3%) did not have thenar muscle atrophy and could perform thumb opposition, but needle electromyography of the APB showed neurogenic changes and Type 4 (0.8%) had no thenar muscle atrophy, could perform thumb opposition, and needle electromyography showed no neurogenic changes. Over 10% of severe CTS patients have mild or no muscle atrophy and intact thumb opposition. The purpose of this study was to investigate the variations in thenar muscle innervation in patients with severe CTS.
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Youdas, James W., Hannah E. Baartman, Brian J. Gahlon, Tyler J. Kohnen, Robert J. Sparling, and John H. Hollman. "Recruitment of Shoulder Prime Movers and Torso Stabilizers During Push-Up Exercises Using a Suspension Training System." Journal of Sport Rehabilitation 29, no. 7 (September 1, 2020): 993–1000. http://dx.doi.org/10.1123/jsr.2019-0381.
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Context: Suspension training devices use body weight resistance and unstable support surfaces that may facilitate muscle recruitment during push-up exercises. Objective: The authors examined muscle recruitment with surface electromyography on 4 shoulder and 4 torso muscles during (1) standard push-ups, (2) feet-suspended push-ups, (3) hands-suspended push-ups, and (4) dual-instability push-ups in which feet were suspended and hands were on unstable surfaces. Design: Cross-sectional design with repeated measures. Setting: Biomechanics laboratory. Participants: Thirty-two healthy men and women (mean age, 24.3 y; mean body mass index, 24.6 kg·m−2) participated. Intervention: Participants were tested while performing 2 repetitions each of 4 variations of push-ups. Main Outcome Measures: Muscle recruitment, normalized to maximum voluntary isometric contraction, was measured in 4 prime movers (anterior deltoid, pectoralis major, serratus anterior, and triceps brachii) and 4 torso stabilizers (external oblique, internal oblique, rectus abdominis, and upper erector spinae). Results: Muscle recruitment in the anterior deltoid, pectoralis major, and serratus anterior during suspended exercises was no greater than during standard push-ups. In contrast, torso stabilizer recruitment was significantly greater in the external oblique, internal oblique, and rectus abdominis during all 3 suspended exercises compared with standard push-ups. Suspended exercises under a dual-instability condition did not generate greater levels of muscle activation compared with conditions of single instability. Conclusions: Push-ups performed with suspension training systems may provide benefit if one’s goal is to enhance torso muscle training. One unstable surface may be sufficiently challenging for the client or athlete when performing push-up exercises with a suspension training device.
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Parkhomenko, Dar’ia. "“Musical gastronomy” in Rossini’s piano miniatures (on the example of the cycle “Quatre horsd’oeuvres et quatre mendiants”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 169–88. http://dx.doi.org/10.34064/khnum2-19.10.
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Formulation of the problem. If the operatic creativity of G. Rossini constantly attracts researchers, then the chamber instrumental music of the composer is lighted only in some works of Western European musicologists, in particular, in the dissertation of Sh. Miller (1990), in which the author analyzes Rossini’s late piano pieces, noting the master’s penchant for frequent repetitions of musical elements. Ch. Park (1997), in turn, examines the chamber-instrumental works of G. Rossini in stylistic and compositional aspects, as a result concluding about his bright innovativeness in this area. B.-R. Kern and R. Moller (2002) are interested in the facts of the composer’s life and create a detailed periodization of his biography and work, sometimes involving the analysis of chamber plays written in the Paris period (1823–1868). At the same time, in domestic sources, chamber-instrumental music by G. Rossini, which becomes a key area of activity in the mature period of his life, is covered only sporadically that determines the relevance of the proposed research. The purpose of this article is to reveal the peculiarities of G. Rossini’s interpretation of piano miniatures using the example of the cycle “Quatre horsd’oeuvres et quatre mendiants” (“Four appetizers and four desserts”). The main task is to consider the features of the composer’s interpretation of the program conception of the musical pieces. Research methodology. Wide cultural-historical and biographical research approaches clearing Rossini’s aesthetic position combine with traditional methods of musicological analysis for examination of the expressive means used by the composer. The specific aspect of considering Rossini’s piano miniatures determined by the fact that we can find numerous mentions about composer’s great passion for cooking in the current musical-critical works and studies about Rossini’s life and career. Research results. Cooking was a source of musical inspiration for G. Rossini. He could compose music during a meal and was able to write musical variations on napkins, often comparing music and food. In addition, he also became the author of two books of recipes, one of which was published under the editorship of T. Beauvert (1997) in Paris. The book came out under the title “Rossini les péchés de gourmandize” (“Rossini – the sins of gourmandize”) and is interesting because some dishes have musical names, for example, “Figaro” salad, “Pasticcini” pastries and “William Tell” cake, and as illustrations the musical works by the composer were used. In the period from 1857 to 1868, G. Rossini created ironic and humorous chamber music, among others eight albums of piano pieces included in his large collection “Peches de vieillesse” (a total of 164 compositions of chamber vocal and instrumental music, combined into 14 albums). The collection “Peches de vieillesse” includes three cycles and several individual food-themed pieces scattered across the various albums. All these miniatures bear the name of a certain culinary ingredient. The “edible” theme in “Peches de vieillesse” arose from the composer’s passionate love for gourmet dishes: he himself argued that good music and the exquisite taste of his dishes are inseparable. The article examines the piano miniatures that make up the “gastronomic” cycle “Four appetizers and four desserts”. According to the composer’s idea, the miniatures were to be performed on “Saturday evenings” in his house. The cycle consists of eight parts, which were included in the fourth album of the megacollection “Peches de vieillesse”. This “edible” cycle is divided into two groups of four miniatures: “Hors-d’oeuvres” / “Appetizers” (No. 1 “Les radis”, No. 2 “Les anchois”, No. 3 “Les Cornichons”: “Introduction: Theme et Variations”, No. 4 “La beurre”: “Theme and variations”) and “Mendicants” / “Desserts” (No. 1 “Les figuees seche”: “Me voila – Bonjour Madame”, No. 2 “Les amandes”: “Minuit sonne – Bonsoir Madame”, No. 3 “Lesraisins”: “A ma petite perruche”), No. 4 “Les noisette”: “A ma chere Nini”). The composition of the album combines the features of an eight-movement cycle and a cycle within a cycle, since the “appetizers” are separated from the “desserts” by a subtitle. In addition, each of the “desserts” is accompanied by short text lines emphasizing the composer’s sense of humor, where Rossini addresses to his wife (“Me voila – Bonjour Madame” – No. 1, “Minuit sonne – Bonsoir, Madame” – No. 2), to his parrot (“A ma petite perruche” – No. 3) and his dog (“A ma chere Nini” – No. 4). “Quatre hors-d’oeuvres et quatre mendiants”, at first glance, is a sequence of pieces of various tempers with a “culinary” program. Each of them poses complex performing tasks for the pianist (imitation of violin strokes, arpeggios and octave beatings at a fast tempo, fiorituras, abrupt changes in dynamic and tempo shades, etc.). The composer’s program idea is realized through a complex of diverse means of musical expression. For example, sharp changes in character and contrasting dynamic shades falling on each beat in the “Les radis” can be associated with the burning taste of a bitter root vegetable, etc. In “Les raisins”, to enhance the humorous effect, Rossini adds text to accompany the melodic line of the upper voice, so that a vocal part appears that completely duplicates the part of the right hand, which takes the cycle beyond the boundaries of piano music. However, in modern interpretations, performers omit these lines. Thus, the analysis of the plays of the cycle revealed a number of unusual compositional solutions (use of verbal text, quotes and allusions), which to a greater extent demonstrate “desserts”, where G. Rossini, in addition to the “culinary” program, using subheads associated with various communicative situations (relationship with his wife, pets, friendly caricaturing). The composer shows his commitment to theatricalization, due not only to various subheadsdedications, but also quotation and allusions (“Les raisins”, a “triple portrait” of the composer proper, his friend and his parrot). Conclusions. As a result, the piano cycle by G. Rossini, in a number of ways, approaches to the piano cycles of romantics, such as, for example, R. Schumann’s “Carnival”. The “culinary” program of the cycle is complemented by an arsenal of sound-visual means of the romantic era, to which G. Rossini refused to count himself among the composers. Along with program genre miniatures, there are portrait pieces; besides that, the composer conducts an indirect dialogue with contemporaries and close people (M. Carafa, J. Rothschild, O. Pélissier, F. Liszt). The pieces demonstrate a vivid theatricality, which is embodied in a variety of characters within one miniature-scene and even in the addition of a verbal text, which indicates the closeness of the cycle to instrumental theater – an attribute of musical creativity of the twentieth century.
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Turner, Craig, Peter Visentin, and Gongbing Shan. "Wrist Internal Loading and Tempo-Dependent, Effort-Reducing Motor Behaviour Strategies for Two Elite Pianists." Medical Problems of Performing Artists 36, no. 3 (September 1, 2021): 141–49. http://dx.doi.org/10.21091/mppa.2021.3017.
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One of the greatest challenges in reducing high rates of performance injuries among musicians is in providing them usable tools to address playing-related musculoskeletal problems (PRMP) before they become disorders. Studies in biomechanics have the potential to provide such tools. In order to better understand the mechanisms through which PRMP manifest in pianists, especially in the distal segments of the upper limbs, the current study quantifies wrist internal loading (WIL) and wrist impact loading frequency. It does so while discussing pianists’ motor behaviours and observed effort-reduction strategies in the wrists as a function of anthropometry. This concept has great utility for performers. A VICON 3D motion capture system documented two expert pianists performing a B major scale, hands together, at 4, 6, 8, 9, and 10 notes/sec. Biomechanical modeling quantified WIL. Changes in motor behaviour were observed at 8 notes/sec. Individualized anthropometry influenced the range of motor strategies available to each pianist. The pianist with the larger hand span employed a flexion/extension wrist strategy as a compensatory means for effort reduction, while the pianist with the smaller hand span employed a radial/ ulnar deviation strategy. The current study provides a new perspective in addressing PRMP among pianists by rationalizing anthropometric potentials in terms of ergonomic parameters and documenting the availability and utility of effort-reduction strategies in the wrists during piano performance as performers consider PRMP risk and avoidance.
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Ivanova, Irina, and Olga Voziyanova. "„The Cossack rodes across the Danube” in variations by K.Weber and his contemporaries – I. Gummel and L. Beethoven." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 148–57. http://dx.doi.org/10.33287/222042.
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The purpose of the article is revealing individual characteristics of the pianistic interpretation of the Ukrainian folk song „The Cossack rodes across the Danube” in the variation cycles of K.M. Weber and his contemporaries – I.N. Gummel and L. Beethoven. The range of methods for the proposed article is based on the following approaches, a namely – 1) comparative, which allows you to draw parallels and identify differences in the interpretation of the theme „Cossack rodes across the Danube”; 2) performing, aimed at revealing the pianistic specifics of the specified works; 3) genre-style, which helps to identify the features, peculiarities of the individual style of composers in the development of variations; 4) compositional and dramatic, due to the need for the development of the structural and semantic plan in the said creations. The scientific novelty of the researching is overwhelmed by the lack of variety of Weber’s variations and the depictions of the given genre in the works of the world’s composers. Conclusions. The difference in the approach to the interpretation of the theme „The Cossack rodes across the Danube” among musicians-contemporaries of K.M. Weber, a namely – I.N. Gummel and L. Beethoven is due to their individual creative orientation. Each of them sees the genre of variations in their own way in terms of their possible functional orientation. K.M. Weber aimed not only on the figurative transformation of the theme, but also significantly enriched the piano fabric by virtuoso components. I.N. Gummel also expanded the range of complex pianistic techniques in variations and processes the figurative characteristics of the theme, shifting the emphasis on its performing orientation. L. Beethoven, despited the variety of technical means, first of all, solved the composer’s tasks, delving into the characteristic development of the material. Thus, one and the same song theme, thanks to the creative imagination of three differing artists, begins to sparkle with a variety of pianistic properties and an inexhaustible potential for variation.
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Sinelnikova, Olga V. "FROM OPERAS AND CONCERTS TO "PROVERBS" AND "FRAGMENTS": RODION SHCHEDRIN'S GENRE EXPERIMENTS IN THE XXIST CENTURY." Arts education and science 2, no. 35 (2023): 43–51. http://dx.doi.org/10.36871/hon.202302043.
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The article is devoted to Rodion Shchedrin's genre experiments in the last two decades. During this time, the composer has created a large number of works covering many typical genres, mixed compositions and new, original musical genres. Among them are operas (4), concerts (5), a concert symphony, piano cycles (4), a vocal cycle, a sonatina, variations, numerous program orchestral and chamber-instrumental compositions, choral miniatures and cycles. At the same time, none of these areas of creativity looks traditional in the catalog of Shchedrin's opuses of recent decades. The article examines the author's versions of the concert genre, interesting varieties of opera genres from the composer's viewpoint, unusual interpretation of the vocal cycle genre and mass, musical interpretation of the Russian folk proverbs, as well as genre modulations; it emphasizes original varieties of symphonic program music, such as a symphonic or dramatic fragment, symphonic etudes, symphonic fresco. In exploring Shchedrin's innovations in the genre sphere, the author analyzes genres or genre varieties that were created by him and have not previously appeared in the works of composers. These are the genres of musical hagiography (choral opera "Boyarynya Morozova"), musical reading ("Adventures of a Monkey"), musical proverb (choral cycle "Proverbs"). As a result of the study, it is concluded that Shchedrin's mobile genre system can only be considered in terms of the mobile interaction of intersecting genre signs.
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.
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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.
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Mawase, Firas, Kendra Cherry-Allen, Jing Xu, Manuel Anaya, Shintaro Uehara, and Pablo Celnik. "Pushing the Rehabilitation Boundaries: Hand Motor Impairment Can Be Reduced in Chronic Stroke." Neurorehabilitation and Neural Repair 34, no. 8 (August 2020): 733–45. http://dx.doi.org/10.1177/1545968320939563.
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Background. Stroke is one of the most common causes of physical disability worldwide. The majority of survivors experience impairment of movement, often with lasting deficits affecting hand dexterity. To date, conventional rehabilitation primarily focuses on training compensatory maneuvers emphasizing goal completion rather than targeting reduction of motor impairment. Objective. We aim to determine whether finger dexterity impairment can be reduced in chronic stroke when training on a task focused on moving fingers against abnormal synergies without allowing for compensatory maneuvers. Methods. We recruited 18 chronic stroke patients with significant hand motor impairment. First, participants underwent baseline assessments of hand function, impairment, and finger individuation. Then, participants trained for 5 consecutive days, 3 to 4 h/d, on a multifinger piano-chord-like task that cannot be performed by compensatory actions of other body parts (e.g., arm). Participants had to learn to simultaneously coordinate and synchronize multiple fingers to break unwanted flexor synergies. To test generalization, we assessed performance in trained and nontrained chords and clinical measures in both the paretic and the nonparetic hands. To evaluate retention, we repeated the assessments 1 day, 1 week, and 6 months post-training. Results. Our results showed that finger impairment assessed by the individuation task was reduced after training. The reduction of impairment was accompanied by improvements in clinical hand function, including precision pinch. Notably, the effects were maintained for 6 months following training. Conclusion. Our findings provide preliminary evidence that chronic stroke patient can reduce hand impairment when training against abnormal flexor synergies, a change that was associated with meaningful clinical benefits.
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Hsu, Sheng-Feng, Chien-Yue Chen, Ming-Da Ke, Chien-Hsun Huang, Yuan-Ting Sun, and Jaung-Geng Lin. "Variations of Brain Activities of Acupuncture to TE5 of Left Hand in Normal Subjects." American Journal of Chinese Medicine 39, no. 04 (January 2011): 673–86. http://dx.doi.org/10.1142/s0192415x11009111.
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This paper presents the evident effects of acupoint stimulation, using EEG (electroencephalogram) measurements. With acupuncture stimulation and the EEG measurement on the same meridian, EEG is able to accurately detect the effects of acupunctural point stimulation on brain waves. In this study, 24 subjects without heart or neural diseases were randomly separated into two groups of 12, named test and control groups. Similar procedures are performed; the subjects lay on a bed with eyes closed for ten minutes as the baseline. The test group received acupuncture at their Waiguan points (TE5) on their left hands for 20 minutes, while the control group did not. EEGs are recorded during pre-acupuncture, acupuncture stimulation and post-acupuncture stimulation periods. The EEG electrodes are at the T3, T4, O1 and O2 locations. Continuous wavelet transformation analysis is adopted; therefore, EEGs are divided into the following bands: δ (0.5–4HZ), θ (4–8HZ), α (8–13HZ) and β (13–30HZ). During acupuncture stimulation, the θ energy is increased and had statistical differences at all electrode points, T3, T4, O1 and O2. Upon removing the needle, the energy at the T3 and T4 points slowly declined and revealed obvious statistical differences. During acupuncture, only α energy has been noted to have statistical difference and it was increased at the T3 point. However, the energy was decreased and had no statistical difference after five minutes. Acupuncture is proven to be able to affect brain waves, as the stimulation might have changed the tissues between the cranium and scalp; therefore, the brain waves are detected more easily.
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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 (February 7, 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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Panjaitan, Vera Diana, Lilis Sukeksi, Iriany, and Siswarni. "Potensi Formulasi Sediaan Sabun Padat Minyak Kelapa dengan Pengisi Kaolin sebagai Media Pembersih Najis Mughallazah." Jurnal Teknik Kimia USU 9, no. 2 (September 12, 2020): 70–74. http://dx.doi.org/10.32734/jtk.v9i2.3851.
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Qur'an explains najis mughallazah be purified using water as much as 7 times and one of which uses the ground. The addition of clay to the soap helps remove impure DNA attached to the surface of the skin. This study was conducted to determine the effect of an increase in the amount of kaolin and reaction temperature on water content and hardness of soap; determine whether the soap formulas meet the quality requirements of SNI and determine whether the soap formula capable of eliminating the derivatives pig DNA using PCR analysis method. The reaction was designed in 4 reaction temperatures (50ºC - 80ºC), the consistency of kaolin (10% - 20%), 35% NaOH concentration, reaction time 10 minutes and the stirring speed of 250 rpm. The results showed that all variations meet SNI standards. The best results were obtained in 15%; 50ºC and 17.5%; 60ºC. First, rinse the soap can eliminate DNA smeared unclean human hands. DNA washing using water and soap shows the remaining conventional PCR DNA electrophoresis. Kaolin solid soap formulation produced may eliminate DNA and meet the standard SNI 06-3532-2016.
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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
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Gone, Swapna, Nicolas Kosa, Joseph Krebs, James Hungerford, Mary Trucksess, and Christina DeWitt. "Validation Study of MaxSignal® Histamine Enzymatic Assay for the Detection of Histamine in Fish/Seafood." Journal of AOAC INTERNATIONAL 101, no. 3 (May 1, 2018): 783–92. http://dx.doi.org/10.5740/jaoacint.17-0289.
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Abstract Bioo Scientific Corp. has developed a rapid enzymatic quantitative assay for the determination of histamine in seafood. Fresh/frozen tuna, canned tuna, pouched tuna, and frozen mahi mahi samples were used for the validation study under the specific guidelines of the AOAC Research Institute Performance Tested MethodsSM program. Recoveries ranged from 82 to 107% at concentrations ranging from 6 to 72 ppm, with RSDr values between 0.8 and 6.5% (6–72 ppm). The linearity of the assay ranged from 0 to 108 ppm, with R2 values exceeding 0.99. The LOD was 0.9 ppm and the LOQ was 2.6 ppm for frozen tuna, which gave the lowest background level of contaminant. Cross-reactivity of the assay was tested against 14 other biogenic amines and was found to be minimal for all (<0.5%), except for agmatine (4.1%) and putrescine (0.9%). There was no observable interference from any tested biogenic amines. Product consistency was verified by validating lot-to-lot variations and variations within the same lot. Overall recoveries for all tested matrixes were within the acceptable range (80–120%). A 1-year claimed shelf life of the kit at 4°C was verified by accelerated stability study data collected on days 1, 15, and 32 at 25°C and by real-time stability testing at 1-month, 6-month, and 1-year at 4°C. No difference in histamine detection was observed in ruggedness testing, in which minor changes were introduced to the assay protocol. Good agreement was observed between AOAC Official MethodSM977.13 and the MaxSignal® Histamine Enzymatic Assay method. Independent laboratory testing demonstrated that the MaxSignal method works with the same precision in the hands of minimally trained technicians as with the expert method developers. This study validates the performance of Bioo Scientific’s rapid enzymatic method.
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Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.
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Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
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Odom, Elizabeth B., Elspeth Hill, Amy M. Moore, and Donald W. Buck. "Lending a Hand to Health Care Disparities: A Cross-sectional Study of Variations in Reimbursement for Common Hand Procedures." HAND 15, no. 4 (February 6, 2019): 556–62. http://dx.doi.org/10.1177/1558944718825320.
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Background: Despite the role of one’s hands in human function and quality of life, financial disincentives to perform common hand procedures in patients with government-sponsored insurance plans may lead to longer wait times and decreased access to care. Here, we identify the variations in reimbursement for 4 common hand procedures as a step toward understanding these financial implications to develop safeguards to minimize effects on access to care. Methods: Billing data were collected over a 10-year period for patients undergoing carpal tunnel release (open, Current Procedural Terminology 64721; endoscopic, 29848), cubital tunnel release (64718), ganglion cyst excision (25111), and interposition arthroplasty (25447). Patients were placed into cohorts according to insurance type—private insurance, Medicare, Medicaid, or worker’s compensation—and these were directly compared. Results: A total of 3489 procedures between 2005 and 2015 were identified in this study (carpal tunnel 65.8%, cubital tunnel 28.7%, ganglion cyst excision 4.1%, and interposition arthroplasty 13.8%). In all, 54.7% of patients had private insurance; 26.3%, Medicare; 10.5%, worker’s compensation; and 8.5%, Medicaid. Reimbursement, as a percentage of charge, differed significantly by payor type for all cases and by procedure. On average, worker’s compensation plans reimbursed 65.5% of submitted charges; private insurance, 50.6%; Medicare, 25.1%; and Medicaid, 24.6%. Conclusions: We found that wide variations in reimbursement for common hand procedures exist and may preclude some surgeons from offering certain procedures to a subset of patients. Understanding these discrepancies is a key first step in minimizing a potential care delivery disparity for this patient population.
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SARI, ERDEM, Alpaslan Fedayi CALTA, Erdem SARI, and Serhat OGUZ. "OUR ENDOSCOPIC RETROGRADE CHOLANGIOPANCREATICOGRAPHY EXPERIENCES: SINGLE CENTER, 688 PATIENTS." Gevher Nesibe Journal IESDR 6, no. 15 (November 25, 2021): 115–21. http://dx.doi.org/10.46648/gnj.292.
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Abstract Introduction and Aim: Successful ERCP requires deep cannulation of the common bile duct and/or the main pancreatic duct through the major duodenal papilla (papilla of Vater). Complications have been reported in cases of selective biliary cannulation, but this diminishes in experienced hands. The aim of this topic is to evaluate the practices and results in our clinic on how to achieve successful cannulation and sphincterotomy at minimum risk for the patient. Methods: The results of 688 patients who underwent ERCP in the endoscopy unit of our clinic over a 6-year period (2015-2021) are evaluated. Demographic findings, co-morbidities, duration of the procedure, presence of periampullary diverticulum, difficult cannulation rate, stent use, complication rate and successful cannulation rates of the patients were evaluated. Results: 58.5% of the patients were female. Heart diseases were found in 44.6% of the patients, kidney diseases in 11.5%, lung diseases in 14.9%, central nervous system diseases in 7.8% and malignancy in 2.1%. The common bile duct diameter is 12.98 ± 3.44 mm, and the mean stone size is 8.70 ± 4.50 mm. Periampullary diverticulum was present in 110 (15.9%) of the patients, and stony gall bladder was present in 48.0% of the patients. Selective cannulation was performed in 77.9% and pre-cut sphincterotomy was performed in 18.2%. Periampullary malignancy was detected in 12.1% of patients, and stent was applied to 22.1% of patients. Failed in 3.1% of patients. Emergency laparotomy was performed in 4 patients (0.6%). Bleeding was found in 58 patients (8.5%), perforation in five patients (0.8%), pancreatitis in 25 patients (4.0%), and mortality in six patients (1.0%). Conclusions: Although endoscopic retrograde cholangiopancreatography is an effective diagnostic and therapeutic tool, it can lead to serious complications. ERCP indication should be put correctly, procedures should be done by experienced people. In experienced hands, the success rate is high even with anatomical variations and difficult stones.
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Arrosyad, M. Iqbal, and Fandi Nugroho. "Development of Variations in Greetings Before and After Learning the Moral Character of Students in Elementary Schools." Dinamika Jurnal Ilmiah Pendidikan Dasar 12, no. 2 (November 3, 2020): 89. http://dx.doi.org/10.30595/dinamika.v12i2.8233.
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The development of various greetings before and after learning is made to provide additional references and treatment from teachers to students in interesting learning. The purpose of this study was to describe the development of a variety of greetings before and after learning in Public Alementary Cchool 5 Mendo Barat. The research method used is the Research and Development method with the Thiagarajan Four-D development model which consists of four stages of research, namely (1) defining, including initial analysis, student analysis, concept analysis, and formulation of learning objectives; (2) planning (design) media selection, format selection, and preparation of various greeting media before and after learning; (3) development, including expert validation and testing; and (4) disseminate, including reproduction, socialization, and reflection. The results of this research. The definition stage 1) there is no media variation of greetings before and after learning; 2) lack of student moral character, and 3) teachers do not have information or references related to variations in greetings before and after learning. Researchers began to design a variety of greeting media with preface, table of contents, contents, author's biography, and back cover, on A4 paper size and 12 pt Garamond font. The variety of media greetings before and after learning resulted from the teacher's response to 93.33% of the process. It can be seen from the greeting activities before and after learning the moral character of students. The moral character is not indifferent when invited to discuss, resulting in 60% of the 20 students, the character of piety including a sense of responsibility and good cooperation of the students as much as 60%, the character of polite and respectful with students greeting by shaking hands every time they go to school, speaking politely 70% of teachers and friends, the character of manners in the form of like to help friends if asked for help as much as 70%.
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Azarpaikan, Atefeh, Hamid Reza Taherii Torbati, Mehdi Sohrabi, Reza Boostani, and Majid Ghoshuni. "The Effect of Parietal and Cerebellar Transcranial Direct Current Stimulation on Bimanual Coordinated Adaptive Motor Learning." Journal of Psychophysiology 35, no. 1 (January 1, 2021): 1–14. http://dx.doi.org/10.1027/0269-8803/a000254.
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Abstract. Many daily activities, such as typing, eating, playing the piano, and passing the ball in volleyball, require the proficient coordination of both hands. In this study, the effects of anodal transcranial direct current stimulation (atDCS) on the acquisition, retention, and transfer of bimanual adaptive motor tasks were investigated. To this end, 64 volunteers ( Mage = 24.36 years; SD = 2.51; 16 females) participated in this double-blind study and were categorized randomly into 4 groups. During the pretest, posttest, 24-h and 48-h retention, and transfer tests, two forms of bimanual coordination (BC) of the Vienna test system were performed. Between the pretest and posttest, all participants were trained in a bimanual coordination adaptive task with concurrent brain stimulation (1.5 mA for 15 min) for two consecutive days. The first experimental group (parietal-stim) received atDCS over the right parietal cortex (P4), while the second experimental group (cerebellar-stim) received atDCS over the bilateral cerebellum (2.5 cm bilateral to the inion). The third group (sham) received a sham stimulation. Finally, the control group did not receive any stimulation at all (control). Repeated-measure analysis of variance (ANOVARM) results indicated that parietal tDCS affected motor performance in the posttest, while overall mean duration and overall error mean duration of movement decreased. The results also revealed a significant impact of cerebellar tDCS on the posttest, 24-h and 48-h retention, and transfer tests. The overall mean duration and overall error mean durations of movement in this group were significantly lower than those in the other groups. Accordingly, we found evidence that atDCS over the cerebellum leads to more improvement in motor performance and transfer in a bimanual coordination task than atDCS over the right parietal. Finally, these results point to the possibly beneficial application of atDCS for learning and recovery of bimanual motor skills, especially when subjects are faced with a new challenging situation.
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Lanier, Cédric, Melissa Dominicé Dao, Dave Baer, Dagmar M. Haller, Johanna Sommer, and Noëlle Junod Perron. "How Do Patients Want Us to Use the Computer During Medical Encounters?—A Discrete Choice Experiment Study." Journal of General Internal Medicine 36, no. 7 (April 26, 2021): 1875–82. http://dx.doi.org/10.1007/s11606-021-06753-1.
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Abstract Background Primary care physicians (PCPs) now widely use electronic health records (EHRs) during medical encounters. Experts in clinical communication issued recommendations for a patient-centered use of EHRs. However, they have never been validated by patients themselves. Objective To explore patients’ preferences regarding physicians’ EHR-related behaviors. Design Discrete choice experiment study. Patients French-speaking patients waiting for a medical consultation at two outpatient clinics in Geneva, Switzerland. Main Measures We invited patients to watch videos displaying 2 or 3 variations of four specific EHR-related behaviors and asked them to indicate which one they preferred. EHR-related behaviors were (1) typing: continuous/intermittent/handwriting in biomedical or psychosocial focused consultations; (2) maintaining contact while typing: visual/verbal/both; (3) signposting the use of EHR: with/without; (4) position of physicians’ hands and bust: on the keyboard and towards the patient/away from the keyboard and towards the patient/on the keyboard and towards the screen. Key Results Three hundred thirty-six patients participated (response rate 61.4%). They preferred intermittent typing versus handwriting or continuous typing for biomedical issues (32.7%; 95% CI: 26.0–40.2% vs 31.6%; 95% CI: 24.9–39.0% or 14.9%; 95% CI: 10.2–21.1%) and psychosocial issues (38.7%; 95% CI: 31.6–46.3% vs 24.4% 95% CI: 18.4–31.5% or 17.9%; 95% CI; 12.7–24.4%). They favored visual and verbal contact (38.9%; 95% CI: 31.9–46.3%) over verbal (30.3%; 95% CI: 23.9–37.5%) or visual contact only (11.4%; 95% CI: 7.5–17.1%) while the doctor was typing. A majority preferred signposting the use of EHR versus no signposting (58.9%; 95% CI: 53.5–64.0% vs 34.8%; 95% CI: 29.9–40.1%). Finally, half of the patients (49.7%; 95% CI: 42.0–57.4%) favored the position with the physician’s bust towards the patient and hands away from the keyboard. Conclusions Our study shows that patients’ preferences regarding EHR-related behaviors are in line with most experts’ recommendations. Such recommendations should be more consistently integrated into under- and postgraduate communication skills training.
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Soysal, Aysun, Turan Atay, Tacettin Ozu, and Baki Arpaci. "Electrophysiological Evaluation of Peripheral and Autonomic Involvement in Leprosy." Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques 31, no. 3 (August 2004): 357–62. http://dx.doi.org/10.1017/s0317167100003449.
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Objective:Motor and sensory nerve conductions, F responses, sympathetic skin responses and R-R interval variations (RRIV) were studied to determine the type of peripheral neuropathy among patients with leprosy.Methods:Twenty-nine consecutive patients with leprosy (25 male, 4 female) hospitalized in the “Istanbul Leprosy Hospital'' between January - December, 1999 were included in this study. Ten patients had borderline lepromatous leprosy, and 19 had lepromatous leprosy. None of the patients studied had the tuberculoid form. The mean age was 55±12 years. The control group consisted of 30 (26 male, 4 female) healthy volunteers (mean age: 58.1±7.8 years). All subjects included in the study underwent neurological examination and electrophysiological evaluation. Standard procedures were performed for evaluating sensory and motor conduction studies. Motor studies were carried out on both left and right median, ulnar, tibial and common peroneal nerves while median, ulnar, sural and superficial peroneal nerves were examined for sensory studies. Sympathetic skin response recordings on both hands and RRIV recordings on precordial region were done in order to evaluate the autonomic involvement.Results:The lower extremity was found to be more severely affected than the upper, and sensory impairment predominated over motor. Of 58 upper limbs examined, no sympathetic skin responses was recorded in 46 (79.3%). Compared with the controls, the RRIVs of the leprosy patients were found to be reduced during both resting and deep forced hyperventilation.Conclusion:Our results indicate that leprosy causes a predominantly axonal polyneuropathy that is more severe in the lower extremities. Sensory nerve damage is accompanied by autonomic involvement.
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Králová, Tereza, Jiří Gasior, Marián Vanderka, Jan Cacek, Tomáš Vencúrik, Dominik Bokůvka, and Tereza Hammerová. "CORRELATION ANALYSIS OF OLYMPIC-STYLE WEIGHTLIFTING EXERCISES AND VERTICAL JUMPS." Studia sportiva 13, no. 2 (January 27, 2020): 26–32. http://dx.doi.org/10.5817/sts2019-2-3.
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ABSTRACTPURPOSE Many types of vertical jumps (VJ) are commonly used to assess the development of the level of explosive strength of lower limbs achieved after a training period. This study is focused on comparing various parameters of different types of VJ with 1 RM in Olympic-style weightlifting, squat and deadlift with an Olympic bar.METHODS Twelve elite weightlifters (men=8; women=4; age 26±4 years, height = 173±8 cm; weight 93±23 kg; weight category from 64 kg to +109 kg) were tested for 1 RM in the following exercises: snatch, clean and jerk, deadlift, squat and variations of VJ on dynamometric plates (Kistler Force Plate). The variations of VJ were: squat jump with the arm swing (SJA) and non-arm swing (SJ), countermovement jump with the arm swing (CMJA) and non-arm swing (CMJ). The parameters compared for each type of VJ were: jump height (m), relative force (% of body weight), relative power (W/kg of body weight) and average power (W). For statistical analysis, the parametric Pearsons correlation coefficient with α=0.05 was used. RESULTS The results show a significant correlation between 1 RM in exercises with an Olympic bar (snatch, clean and jerk, back squat and deadlift) and the CMJ, CMJA, SJ and SJA only in the average power output (W) parameter (p<0.05). The significant correlation coefficients in the average power output (W) were for the CMJA and the snatch r=0.96 r2= 0.92, clean and jerk r=0.96 r2= 0.92, back squat r=0.97 r2= 0.94 and deadlift r=0.93 r2= 0.86; CMJ with hands on the hips and the snatch r=0.93 r2= 0.86, clean and jerk r= 0.93 r2= 0.86, back squat r= 0.95 r2= 0.90 and deadlift r= 0.94 r2= 0.88; for the SJA and the snatch r=0.8 r2= 0.64, clean and jerk r=0.81 r2= 0.65, back squat r=0.82 r2= 0.67 and deadlift r=0.78 r2= 0.60; for the SJ with hands on the hips and the snatch r= 0.76 r2= 0.57, clean and jerk r= 0.75 r2= 0.56, back squat r= 0.77 r2= 0.59 and deadlift r= 0.71 r2= 0.50. Significant correlation coefficients were not found for 1 RM in the snatch, clean and jerk, back squat and deadlift and the CMJ or SJ with and without arm swing in any of the following parameters: jump height (m), relative force (% of body weight), relative power output (W/kg of body weight).CONCLUSION The main finding is that the jump height (m) of the CMJ or SJ with or without arm swing did not correlate significantly with 1 RM in the snatch, clean and jerk, back squat and deadlift. Therefore, jump height measurement can be used as a motivation tool but not to predict maximum strength in Olympic bar exercises, or vice versa. We recommend using the average power output (W) parameter in the CMJ with using arms as a predictor of current performance level in exercises with an Olympic bar for men and women.Key words: snatch, clean and jerk, squat, deadlift, countermovement jump, squat jump
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Popova, Liudmyla, and Olha Protsenko. "Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 65–79. http://dx.doi.org/10.34064/khnum2-19.04.
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Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.
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Wiyono, Andi Eko, Iftitah Ariyanti Safitri, Andrew Setiawan Rusdianto, Miftahul Choiron, and Ardiyan Dwi Masahid. "Optimization of The Combination of CMC-Na and Glycerin in Tobacco (Nicotiana tabacum L.) Hand Sanitizer Gel Using The Simplex Lattice Design." International Journal on Food, Agriculture and Natural Resources 4, no. 1 (April 3, 2023): 10–17. http://dx.doi.org/10.46676/ij-fanres.v4i1.108.
Full textAbstract:
Tobacco leaves have active compounds such as phenols and alkaloids that can be used as antibacterial and antiseptic because they can damage the cell components of microorganisms. Tobacco leaf extract in hand sanitizer gel has been shown to have antibacterial activity against Staphylococcus aureus and Eschericia coli bacteria at a minimum concentration of 0.25%. Hand sanitizer is an antiseptic product that is used to clean hands and is preferred because it is practical, has a cooling and dries quickly when compared to hand soap. To make hand sanitizer products that are safe for the skin, various chemical compounds are used as building blocks, including CMC-Na and glycerin. CMC-Na acts as a gelling agent and glycerin has a role as a vehicle. This study aims to obtain the optimum formula for hand sanitizer gel preparations with variations in the concentration ratio of CMC-Na and glycerin using Simplex Lattice Design (SLD) and to determine the effect of variations in the concentration ratio of CMC-Na and glycerin on physical, chemical, and microbiological characteristics of the results of the optimum formula for hand sanitizer gel preparations. The research method used in this study is a type of laboratory experiment using Completely Randomized Design (CRD). The data obtained from the research results were processed using Analysis of Variance (ANOVA) with a 95% confidence level and continued with Duncan's Multiple Range Test at a significance level of 5%. The results showed that there were 3 optimum formulas for hand sanitizer gel of tobacco leaf extract based on the desirability value, 0.912 (Formula 1), 0.457 (Formula 4) and 0.653 (Formula 5). The variation of the concentration ratio of CMC-Na and glycerin in the optimum formula showed that CMC-Na had the most dominant influence on physical (homogeneity), chemical (total flavonoid) and microbiological (antibacterial and antiseptic) characteristics. Meanwhile, glycerin has the most dominant influence on product viscosity stability. The three optimum formulas have homogeneous gel characteristics.
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Yuan, Rahayu Artini. "Pengaruh Waktu Fermentasi Pada Produksi Bioethanol Dari Molase." JOURNAL OF MUHAMMADIYAH MEDICAL LABORATORY TECHNOLOGIST 6, no. 1 (May 30, 2023): 87. http://dx.doi.org/10.30651/jmlt.v6i1.15887.
Full textAbstract:
The corona virus outbreak first occurred at the end of 2019 in Wuhan, China. This virus then spread rapidly throughout the world, including Indonesia. So, countries in the world take steps to lock down. In Indonesia, large-scale social restrictions have been implemented in big cities with a high prevalence of the spread of the virus. Efforts to control the virus include limiting mobility, wearing masks, frequently washing hands or using hand sanitizers. Hand sanitizers are products made from ethanol which are increasingly limited and expensive during the Covid-19 pandemic. The purpose of this study is to make bioethanol with a variation of the fermentation time made from molasses, so as to produce ethanol content above 70%. This research is an experimental research. Production of bioethanol based on molasses, aquades, NPK, urea, and yeast culture of Saccharomycess cerevisae with time variations of 4, 5, and 6 days and distilled at a temperature of 500C. Testing the ethanol content using gas chromatography mass spectrometry. The results of this study, the fourth day of fermentation produces ethanol content of 50.23±0.42% with an average volume of 490 mL; day 5 produced ethanol content of 62.92±0.38% with an average volume of 385 mL; and the 6th day yielded ethanol content of 72.11±0.46% with an average volume of 243 mL. So, the 6th day of fermentation is the best fermentation to produce bioethanol as a raw material for hand sanitizer with ethanol content above 70%.