bluuebunny/crossref_metadata_2025 huggingface dataset:
The First Undoubted ‘Magic Flute’?
Authors: Fawcett Trevor
Published: January 2013

Which was the first reasonably complete and faithful performance of Die Zauberflöte in English?

In common with other Mozart operas, and despite its unabated popularity on the Continent, Die Zauberflöte came late and haltingly to the English stage. The date of its introduction is somewhat problematic. Dennis Arundell has drawn attention to an advertisement in The Times of 29 March 1806. A comic opera, Adolf and Clara, was to be performed that evening at the German Theatre (or Sans Souci), Leicester Square: ‘After which, a Pantomime Dance: and, for the 1st time, a new Musical Piece, by Mozart, called The ENCHANTED FLUTE; and to conclude with the Optical Ballet.’ No more is known beyond the bald statement. The production was apparently in English, and admittedly there was music, but does it appear likely that this was a serious attempt at the whole work? Introduced into the programme as a mere afterpiece, sandwiched between other diversions, and so very modestly announced, it sounds at the best estimate a heavily truncated version. Indeed the probability is that the piece was got up hastily in order to capitalize on the interest aroused by the Haymarket's production of La clemenza di Tito two days earlier, that being the first time a Mozart opera had been performed in England.
A Thematic Catalogue of the Orchestral Works of Giuseppe Matteo Alberti (1685–1751)
Authors: Talbot Michael
Published: January 2013

His contemporaries did not find Giuseppe Matteo Alberti a composer out of the ordinary. In the diary of the Bolognese apothecary Ubaldo Zanetti where his death is noted he is described prosaically as ‘secondo violino e compositore riguardevole di musica’. In England, where his music was especially well disseminated as a result of its publication by Walsh in London and Le Cène in Amsterdam, it was regarded as fodder for less advanced players. Burney remarks that his twelve Sinfonie a quattro, ‘being slight and easy, were much played in England about fifty years ago, particularly in provincial concerts’. Less kindly, Avison placed him among the lowest class of composers (his companions in ignominy being Vivaldi, Tessarini and Locatelli) – those ‘whose compositions, being equally defective in various harmony and true invention, are only a fit amusement for children’. In his Remarks on Mr. Avison's Essay on Musical Expression William Hayes did his best to salvage Vivaldi's reputation - at the expense of the other three composers, whose ‘servile, mean copy’ he contrasted with Vivaldi's ‘original’.
Dedications in Morley's Printed Music
Authors: Chibbett Michael
Published: January 2013

Morley started to publish his secular music in 1593, and maintained an average of more than a volume per year seen through the press until his death in 1602. This article attempts to discover whether there were any discernible motives for dedicating works to particular patrons thereby invoking their support. Such motives may well not be apparent today removed as we are from the everyday pressures and needs of an Elizabethan musician, and Morley may even have wished to conceal his reasons for adopting certain particular patrons for his publications - possibly to avoid allegations of nepotism or unfair dealings - even if he wanted the outward display of their public support. But searching for motives behind some of the dedications is not totally futile even if it is, for lack of concrete evidence, necessarily mostly speculative.
Pythagorean Intonation and the Rise of the Triad
Authors: Lindley Mark
Published: January 2013

No sooner did the Gutenberg revolution reach musical academia than some distinguished theorists became embroiled in a rather nasty disagreement about tuning. Two years after the appearance in 1480 of Franchino Gaffurio's Theoricum opus musicae disciplinae, which was the first European printed book on music, Bartholome Ramos de Pareja published in his Musica practica a new and mathematically simple scheme which he said young singers could use for a monochord to provide a model scale for plainchant. Ramos's book appears to have enjoyed more than one reprinting (Ghisi 1935) but was vigorously attacked by John Hothby and, in 1487, Nicola Burzio. Around 1489 Ramos's leading disciple, Giovanni Spataro, gave a copy to Gaffurio, who returned it with critical comments in the margin (see Gaffurio ed. Miller 1977, 20), some of them about the monochord. Ramos left Italy in 1491, but the exchange between Gaffurio and Spataro went on for some thirty years.
Compositional Procedure in Machaut's ‘Hoquetus David’
Authors: Leech-Wilkinson Daniel
Published: January 2013

Guillaume De Machaut's Hoquetus David has long been regarded as an exceptional work (for sources, see the bibliography appended to this article). Sections of hocket had been included in motets since the twelfth century (see Sanders 1974), and the technique still played an important part in the isorhythmic structure of Machaut's own motets. Surviving examples of hockets as independent compositions, however, are few. From the thirteenth century there are the seven consecutive pieces in Bamberg 115 (ed. Aubry 1908, nos. 102–8), five of them based on the same chant, together with isolated pieces in Montpellier 196 (ed. Rokseth 1935–9, no. 5) and Paris 11411 (no. 3). On the other hand, the numerous references in theoretical treatises to hocket as an independent form on a par with motets and organa suggest that hockets as separate pieces were not uncommon during the thirteenth century. For the fourteenth century, however, the picture is far less clear. Jacob of Liège, writing around 1330–40, states that modern composers use hocket only in motets, having abandoned the old duplex, contra-duplex, triplex, and quadruplex forms (ed. Bragard 1973, 89); and the fact that the Hoquetus David appears to be the only surviving example supports this.
Keyboard Sources in Hereford
Authors: Cooper Barry
Published: January 2013

Of the twenty or so music manuscripts from the seventeenth and eighteenth centuries preserved in Hereford Cathedral Library, no fewer than six contain sections devoted to keyboard music — a remarkably high proportion. Although all six contain other music too, this article will concentrate on the keyboard music; and, since the sources are very little known and virtually unrecorded in print, a description and inventory of all the keyboard music will be given here. (A complete inventory of all the manuscripts will eventually be published under the auspices of theRépertoire international des sources musicales (RISM).) The six manuscripts can be divided chronologically into three groups: two from around 1700, two from around 1720 and two from around the 1760s.
The Relative Speed of Tempora in the Period of Dufay
Authors: Planchart Alejandro Enrique
Published: January 2013

Although in recent years there has been a marked increase in performances and recordings of fifteenth-century music, with a consequent focusing of interest on the performance problems presented by this repertory, a number of fundamental notational ambiguities remain that have received little systematic attention. Among them a particularly pressing problem is that of the relationship between tempus perfectum and tempus imperfectum diminutum in a considerable number of works written between 1440 and 1520.
Singers at San Marco in Venice: The Competition Between Church and Theatre (c1675–c1725)
Authors: Termini Olga
Published: January 2013

In the late seventeenth and early eighteenth centuries Venice was primarily known as a centre of opera, with several flourishing opera houses. The most prestigious of these was the Teatro San Giovanni Grisostomo, named like the others after the parish in which it was located. It had been built by the brothers Giovanni, Carlo and Vicenzo Grimani, whose uncle Giovanni Grimani had built the Teatro SS Giovanni e Paolo (1639) and the Teatro San Samuele. The oldest public opera house in Venice, the Teatro S.Cassiano (1637), was owned by the Tron family. In 1640 Almoro Zane had opened a small theatre called San Moise, later distinguished by a famous impresario, Francesco Santurini. The latter in turn built a theatre of his own in the parish of Sant' Angelo; operas were produced at this theatre from 1677 to 1752. Another small house, San Fantino, opened in 1699, only to close in 1719. The Teatro San Salvatore, owned by the Vendramin family, was also known as the Teatro San Luca; this name was changed twice again in its three-hundred-year history (to Teatro Apollo and Teatro Goldoni; see Wiel 1897, XLIV). All in all, sixteen Venetian theatres had opened by the end of the seventeenth century, eight of them serving both for straight comedy and opera (Galvani 1879, 13).
New Information About the Life of Alfonso Ferrabosco the Elder (1543–1588)
Authors: Charteris Richard
Published: January 2013

As a member of a family some of whose members were employed within the Roman Catholic church and supported by various cardinals, Alfonso Ferrabosco the elder must have given his relatives some cause for concern in 1562 when, at the age of nineteen, he became a retained musician at the court of Queen Elizabeth. During the next sixteen years Alfonso's behaviour in England and on the Continent threw further doubt on his political and religious convictions, and he was finally imprisoned by the pope. This new information about Ferrabosco along with other recently discovered evidence about his life is discussed below in the course of a reassessment of his biography.
Verdi and theGazzetta Privilegiata Di Milano: An ‘Official’ View Seen in its Cultural Background
Authors: Parker Roger
Published: January 2013

Verdi was immensely popular in Italy because he brought to the accepted forms and idiom of opera just that touch of dynamic individuality which was needed; but there was a further reason only indirectly connected with the music itself. Italy during therisorgimento(1820–70) was seething with revolution, and Verdi's operas came to play an important part in the patriotic movements of the 1840s and 1850s. Though their scenes and characters ostensibly had no connection with contemporary events, the librettos were filled with conspiracies, political assassinations, appeals to liberty, and exhortations against tyranny, all of which were of course understood in the intended sense by sympathetic audiences.
Register of Theses on Music in Britain and Ireland Supplement 3
Authors: Bartlett Ian
Published: January 2013

This list of theses supplements the lists published in Research Chronicle 15 (1979, 38–116), 16 (1980, 110–34) and 17 (1981, 117–33). It has been compiled on the same principles as before, from information received since July 1982. An Index is again provided, to supplement the indexes of the previous lists. (For some account of the principles on which this list is compiled, see Research Chronicle 15 (1979), 38–9.)
A New Source of Restoration Keyboard Music
Authors: Holman Peter
Published: January 2013

Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte und Gegenwart, and my edition of two Croft suites in the 1982 revision of that composer's Complete Harpsichord Works.
An Index of Polyphonic Chansons in English Manuscript Sources, c. 1530–1640
Authors: Bernstein Jane A.
Published: January 2013

Much has been written about the Italian madrigal and its effect upon the musical life of sixteenth- and early seventeenth-century England. That the Italian vogue was indeed strong can be observed most dramatically in English printed and manuscript sources of the period; yet the obvious and dazzling effect this foreign idiom had upon many aspects of Elizabethan and Jacobean music is balanced by the equally important and more deeply-rooted connection that England enjoyed with her nearer Continental neighbours, France and the Low Countries. The following index documents this musical connection by presenting a list of the Franco-Netherlandish chansons that appeared in English manuscript sources dating from c. 1530 to c. 1640.
A Note on ‘Scottish Anonymous’
Authors: Woods Isobel
Published: January 2013

The treatise entitled The Airt of Musick Collecit out of all Ancient Doctoris of Musick, British Library Additional MS 4911, known as 'Scottish Anonymous’, has long been of interest to scholars of faburden and related subjects. The importance of its evidence has been difficult to assess, however, since key questions remain unanswered, such as of what establishment this manuscript represents the musical practices and over what time-period. The matter is further clouded by the circulation of obviously erroneous dates, the background to which is discussed by Judson Maynard in his dissertation on this manuscript.
A Tallis Patron?
Authors: Bennett John
Published: January 2013

When Thomas Tallis died in 1585 he left his wife Joan his heir. Joan Tallis's will (12 June 1587) bequeathed ‘to Anthony Roper esquier one guilte bowl with the cover thereunto belonging in respect of his good favours showed to my late husband and me'—her first bequest, and the only one of hers or Thomas's to a person of rank. Who was Anthony Roper, what was the connection, and can it throw any light on the composer? The point does not seem to have been picked up hitherto in Tallis literature.
An Edition with Translation and Commentary
Authors: Butchart David
Published: January 2013

Among sixteenth-century musical correspondents, Striggio stands out both for the number of letters he wrote that have survived and for the interest of the subjects he raised. Only Lasso among his exact contemporaries bequeathed more letters to posterity; and Striggio's, taken together, offer an exceptional view of the life of a court musician—one especially privileged by his social position as a member of the nobility—and of certain kinds of music cultivated in the late sixteenth century. The present edition brings together for the first time his complete surviving correspondence, with English translation and commentary.
The Origins and Contents of the Magdalene College Partbooks
Authors: Herissone Rebecca
Published: January 2013

In March 1916 a short entry in the magazine of Magdalene College Cambridge announced the discovery of ‘a set of five manuscript part books containing English instrumental music of the late seventeenth century’. These had been held in the Old Library of the college and their origin was something of a mystery; for there was no other holding of the library with which they could positively be linked. They were deposited by the Master of the college in the Fitzwilliam Museum where they remained until they were returned to the Old Library in 1969. In 1974 Dr Richard Luckett was asked to catalogue some loose sheet music which was thought to belong to the Pepys Library. It soon became clear to him that the printed music in question could not have been part of Pepys' collection, since the majority of the pieces dated from, and had been printed well after, Pepys' death in 1703, when the library had been closed. However, like the set of manuscript partbooks, this music could not at that time be connected to other music or books belonging to the college.
Music Deposited by Stationers' Hall at the Library of the University and King's College of Aberdeen, 1753–96
Authors: Turbet Richard
Published: January 2013

Under the provisions of the 1709 Copyright Act, Scottish universities were entitled to a copy of each printed work entered at Stationers' Hall, London. This entitlement ceased in 1836 when the five Scottish universities agreed to receive an annual payment in lieu of the privilege of deposit. Amongst the many difficulties thrown up by the well-intentioned legislation of 1709, a peculiarly Aberdonian aspect was that the Act specified only ‘the Four Univerisities in Scotland’ provoking arguments as to which of Aberdeen's two universities, King's College or Marischal College, should be the recipient. Although this was- resolved in favour of King's College, it is clear that friction persisted. As late as 1826 the Aberdeen Censor was urging, ‘I wish the members of Marischal College would look to what has become o’ the Stationers' Hall music'. This seems to be the only reference in contemporary literature to the collection.
Treasure Trove in Gloucester: A Grangerized Copy of the 1895 Edition of Daniel Lysons' History of the Three Choirs Festival
Authors: Johnstone H. Diack
Published: January 2013

To grangerize is a verb not much used by musicologists. As defined by the Oxford English Dictionary, it refers to that process by which an existing book is made larger—and sometimes vastly so—by the binding into it of various prints, photographs, letters, maps and other documents chosen to provide extra illustrations for the parent volume. Given that this nearly always involves the cannibalization of certain other books en route, the art of grangerizing is not something of which all true lovers of books readily approve, yet there have been a number of works so produced whose final state is far and away more interesting and important than that of the original. One such is the subject of the present article.
A Copy of Ferdinand Weber's Account Book
Authors: Nex Jenny , Whitehead Lance
Published: January 2013

With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 1757) supported charitable concerts such as those at the Rotunda, the concert venue attached to the Lying-in Hospital. Although instruments were imported from London throughout the century (John Snetzler, for example, supplied the organ for the Rotunda in 1767), there was a knot of local instrument builders working in the vicinity of Trinity College. However, in contrast to the concentration of keyboard instrument builders in the Soho area of London in the eighteenth century, the distribution of harpsichord makers in Dublin was more diffuse.
Private Concerts on Land and Water: The Musical Activities of the Sharp Family,c.1750–c. 1790
Authors: Crosby Brian
Published: January 2013

Hitherto there have only been glimpses into the musical activities of William, James and Granville Sharp in London during the second half of the eighteenth century. These have been afforded by Prince Hoare'sMemoirs of Granville Sharp, William Shield's anecdotal review of Granville'sA Short Introduction to Vocal Music, the brothers' own catalogue of their music and the Leigh and Sotheby Sale Catalogue of 1814 which marked that music's dispersal, and, more recently, by the publication of the memoirs of R.J.S. Stevens who sang as a treble at the Sharps' concerts in 1772. From these sources it transpired that the three Sharps were capable amateur musicians who hosted private concerts of sacred music in their homes, and that at different times many of the leading professional musicians of the period either played or sang on one of Sharps' vessels on the Thames. These shadowy images gained bodily form in 1978 when the National Portrait Gallery acquired on indefinite loan ‘The Sharp Family’ by Johann Zoffany, a portrait which revealed that the three brothers were but part of a larger musical family.
Music Manuscripts Missing from the Staats- Und UniversitäTsbibliothek, Hamburg
Authors: Charteris Richard
Published: January 2013

A vast quantity of rare music books and manuscripts were lost during the Second World War, and while a substantial number has been rediscovered, many items remain untraced. In some cases the only information we have about such losses is found in early music catalogues. One library with invaluable information of this kind is the Staats- und Universitätsbibliothek, Hamburg (in 1919 the library's name was changed from ‘Stadtbibliothek’ to ‘Staats- und Universitätsbibliothek’, and in 1983 it acquired its present name ‘Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky‘). The full extent of the Hamburg Staats- und Universitätsbibliothek's music losses has yet to be revealed in print, and it is in respect of a small component of these losses, namely, its music manuscripts, that I am concerned here.
Ladies in the Wheatstone Ledgers: The Gendered Concertina in Victorian England, 1835–1870
Authors: Atlas Allan W.
Published: January 2013

Victorian England held firm convictions about which instruments were appropriate for middle- and upper-class women, whether professionals or well-bred amateurs. Conventional wisdom holds that, until the informal ban on women playing the violin began to loosen in the 1870s, only three instruments were deemed suitable: piano, harp, and guitar. There was, however, a fourth instrument to which women had recourse: the English concertina, developed by the physicist Charles Wheatstone circa 1830.

This study looks at the 978 women for whom there are 1,769 transactions-about 12% of the total-recorded in nine extant Wheatstone & Co. sales ledgers that list the firm's day-to-day sales from April 1835 to May 1870. It is in two parts: (1) an Introduction, which analyses the data presented in the Inventory from a demographic-sociological point of view and places Wheatstone's commerce with women into the context of its business activity as a whole; and (2) the Inventory (with three appendices), which lists every transaction for each of the 978 women, identifies as many of them as possible, and offers a miscellany of comments about both the women and the transactions. Briefly, the roster of Wheatstone's female customers reads like a list of Victorian England's rich-and-famous: the Duchess of Wellington and 146 other members of the titled aristocracy (more than twice as many as their male counterparts), the fabulously wealthy philanthropist Angela Burdett Coutts, members of the landed gentry, and such mainstays of London's musical life as the guitarist Madame R. Sidney Pratten, the organist Elizabeth Mounsey, and the contralto Helen Charlotte Dolby, as well as a large number of Professors of Concertina.
Pious Pleasures in Early Stuart London
Authors: Pinto David
Published: January 2013

Christ Church, Oxford, Mus 739–43, 750–3 and 1074–7 are interconnected manuscript vocal partbooks of contrafacta from London of the 1620s that employ Puritan texts. The chief compiler was John Browne, Clerk of the Parliaments (1608–91) whose instrumental music has been much discussed. His family background gives clues for identifying another copyist in these sets as his guardian uncle, and for giving them a context in an era with little other documentation for musical family piety of radical sorts.
An Unrecorded Collection of Early Music Sources in Lampeter: Description and Annotated Inventory
Authors: Cooper Barry
Published: January 2013

The library of University of Wales Lampeter, one of the oldest universities in Britain, collected many rare items, including music, during the first thirty years after its foundation in 1822. This music collection has never really been explored hitherto, and there are no printed references to it in the standard literature. The collection contains nearly 200 items, ranging from 1711 to the mid-nineteenth century but dating mainly from 1770–1820. Alongside the printed music are sixteen instrumental tutors and fifteen manuscripts. Judging by names written on some of the items, the collection was assembled piecemeal from various private collections. For nearly a third of the items, no exact match has yet been found elsewhere. These include previously unknown editions of music by Arne, Mozart and others; previously unknown works by composers such as William Burnett, Francis Linley and William Howgill; and even possibly unknown composers such as J. Gray and Henry Schroeder.
Stephan Kenckel's Collection of Music and Musical Instruments: A Glimpse of Danish Musical Life in the Early Eighteenth Century
Authors: Koudal Jens Henrik , Talbot Michael
Published: January 2013

Born in Tønder, Denmark, Stephan Kenckel (1661–1732) had a short career in schoolteaching before becoming, in 1697, a customs master based in the provincial port town of Helsingør. Remarkably, Kenckel was a major collector both of musical instruments and of printed and manuscript music. We know this, since his music and instruments were put up for public auction after his death. The printed sale catalogue, the relevant contents of which are listed, described, and analysed, also includes, in the example studied, the handwritten names of purchasers and the prices they paid. The range of instruments—familiar and exotic, antiquated and newfangled-owned by Kenckel and the breadth of his musical repertory, which suggests the existence of a thriving collegium musicum active in Helsingør, testify to a higher state of musical development in early-18th-century Denmark than has been generally recognized.
Lists of Musicians for Performances of Handel's Messiah at the Foundling Hospital, 1754–1777
Authors: Burrows Donald
Published: January 2013

Beginning in 1750, Handel gave annual performances of Messiah in the Chapel of the Foundling Hospital in London, and the series was continued by others after his death, until 1777. The Hospital's archives include complete itemised lists of performers for many of these events, and provide information about income and expenditure relating to all of the performances. The performers’ lists from 1754, 1758 and 1759 are well known, since they provide the only detailed contemporary record of singers and players for Handel's oratorio performances. However, the complete run of surviving lists enables us to track individual performers in London over a longer period, as well as revealing changes in the management, composition and remuneration of the ensembles. Transcriptions of the lists are here accompanied by an index of names and a summary analysis of the financial accounts for each performance.
Therapeutic Strategies in Post–Facial Paralysis Synkinesis in Adult Patients
Authors: Terzis Julia K. , Karypidis Dimitrios
Published: January 2013

Background:

Facial synkinesis comprises unwanted facial muscle contractions in different facial muscle groups following voluntary ones, in cases of incomplete recovery from facial paralysis. Facial expressivity and function are impaired, and the psychological integrity of the patients is seriously affected.

Methods:

Thirty-one adult patients (older than 18 years) presenting with post–facial paralysis synkinesis were included in this study. The mean patient age was 39.6 years and the mean denervation time was 124 months.

Results:

There were five patient groups. Group A (n = 9) underwent cross-facial nerve grafting and secondary microcoaptations. Group B (n = 8) had cross-facial nerve grafting, secondary microcoaptations, and botulinum toxin type A injections. Group C (n = 6) received cross-facial nerve grafting, secondary microcoaptations, botulinum toxin type A, and selective neurectomies. Group D (n = 2) underwent cross-facial nerve grafting, direct muscle neurotization, and botulinum toxin type A. Group E underwent other means of treating synkinesis (n = 6), such as botulinum injections alone (n = 1), biofeedback alone (n = 2), biofeedback with selective neurectomies and myectomies (n = 2), and biofeedback and botulinum injections (n = 1). Group B had the highest synkinesis improvement (100 percent), followed by groups A and C (66 percent). Functional results were improved, with smile improvement being higher in group C and eye closure being higher in groups A, B, and E.

Conclusion:

Meticulous patient selection and evaluation followed by an individualized form of treatment, most frequently including cross-facial nerve grafting and secondary microcoaptations along with botulinum toxin type A and biofeedback including facial muscle retraining, constitute an effective and reliable methodology with which to combat post–facial paralysis synkinesis.

CLINICAL QUESTION/LEVEL OF EVIDENCE:

Therapeutic, IV.
The Three Dermoglandular Flap Support in Reduction Mammaplasty
Authors: Pascone Michele , Di Candia Michele , Pascone Christian
Published: January 2013

Background:

Bilateral breast reduction is an established procedure performed to relieve the physical pain and psychological discomfort associated with heavy, pendulous breasts. Numerous techniques have been developed over the years with several refinements to obtain safe nipple-areola complex transposition and harmonious breast shape. Based on the experience of the senior author (M.P.), the three dermoglandular flap technique is proposed to achieve a safe and aesthetically pleasing breast reduction through the surgical concept of dermal support.

Methods:

The authors analyzed the benefits of the three dermoglandular flap technique performed in a selected group of smoking patients with a potentially high risk of postoperative complications and high probability of breast ptosis recurrence (each patient had breast volume >1000 cc, breast nipple ptosis grade 3 on Regnault's scale, and body mass index >27). Blood supply to the nipple-areola complex was based on an inferior-central pedicle.

Results:

Between 1995 and 2007, 47 smokers underwent bilateral breast reduction using the three dermoglandular flap technique. Their ages ranged from 37 to 63 years (mean, 49 years), and their average body mass index was 31.2 kg/m2 (range, 27 to 38). The overall complications rate was 14.9 percent. No wound breakdowns and no complete or partial necrosis of the nipple-areola complex was observed. Follow-up ranged from 18 to 48 months (mean, 32 months).

Conclusions:

Three dermoglandular flap reduction mammaplasty produced good cone shape, soft texture, and fullness in the central and inferior pole with satisfactory breast projection and was stable over time. It offers a safe and practical approach in the treatment of challenging breast hypertrophy.

CLINICAL QUESTION/LEVEL OF EVIDENCE:

Therapeutic, IV.
Bone Biology and Physiology
Authors: Buck Donald W. , Dumanian Gregory A.
Published: January 2013

The principles of bone biology and physiology permeate all subspecialty practices in plastic and reconstructive surgery, from hand surgery to aesthetic surgery. Despite its importance in our practices, these topics rarely surface within textbooks, literature reviews, or residency curricula. The authors present the second portion of a two-part review of the important concepts of bone biology and bone physiology relevant to plastic surgery, in an effort to ameliorate this educational gap.
Safety, Efficacy, and Modifications of the Dermal Bra Technique for Reduction Mammaplasty and Ptosis Correction
Authors: Guo Ke , Sun Jiaming , Qiao Qun , Guo Nengqiang , Guo Liang
Published: January 2013

Background:

The dermal bra technique was reported by the authors in 2003 for reduction mammaplasty and ptosis correction. The authors have summarized and modified continuously and here share their experience and analyze the long-term safety and efficacy of this technique.

Methods:

Three hundred forty-seven patients underwent the dermal bra technique in the authors' department from October of 2003 to October of 2011, and 213 of them were followed successfully for 3 months to 2 years. Patients before and after October of 2006 were divided into early and late groups. The incidence of complications, the long-term satisfaction rate, and modifications that have been developed were noted and analyzed.

Results:

Short-term complications occurred in 55 breasts (7.9 percent), including hematoma (seroma), delayed wound healing, fat necrosis, deep folds, necrosis, and numbness of the nipple-areola complex. Long-term complications were found in 28 breasts (6.6 percent), including widened scar and enlarged areola, irregular areola, secondary ptosis, sunken nipple-areola complex, numbness of the nipple-areola complex, cyst, and chronic infection. Except for one case of nipple-areola complex numbness, all complications were corrected successfully. The long-term satisfaction rate was 95.7 percent. With three major modifications (W- or V-shaped gland resection, medial rotation of gland flap, and modified purse-string suture), the short-term and long-term complication rates (p < 0.01) and satisfaction rate (p < 0.05) of the late group were improved significantly compared with the early group.

Conclusion:

Effective modifications have significantly improved the safety and efficacy of the dermal bra technique and have made it a mature approach for reduction mammaplasty and ptosis correction.

CLINICAL QUESTION/LEVEL OF EVIDENCE:

Therapeutic, IV.
Deep and Superficial Keloid Fibroblasts Contribute Differentially to Tissue Phenotype in a Novel In Vivo Model of Keloid Scar
Authors: Supp Dorothy M. , Hahn Jennifer M. , Glaser Kathryn , McFarland Kevin L. , Boyce Steven T.
Published: January 2013

Background:

Keloids are thick fibrous scars that are refractory to treatment and unique to humans. The lack of keloid animal models has hampered development of effective therapies. The authors' goal was to develop an animal model of keloids using grafted engineered skin substitutes composed of keloid-derived cells. To demonstrate the model's utility, differences between deep and superficial keloid fibroblasts were investigated.

Methods:

Engineered skin substitutes were prepared using six combinations of cells: 1, normal keratinocytes and normal fibroblasts; 2, normal keratinocytes and deep keloid fibroblasts; 3, normal keratinocytes and superficial keloid fibroblasts; 4, keloid keratinocytes and normal fibroblasts; 5, keloid keratinocytes and deep keloid fibroblasts; and 6, keloid keratinocytes and superficial keloid fibroblasts. Engineered skin substitutes stably grafted to athymic mice were evaluated for wound area, thickness, and gene expression.

Results:

Deep keloid fibroblasts displayed elevated expression of type 1 collagen alpha 1 (COL1A1), transforming growth factor β-1, periostin, plasminogen activator inhibitor 2, and inhibin beta A compared with superficial keloid fibroblasts and normal fibroblasts. After grafting, engineered skin substitutes in group 5 were significantly thicker than controls and had increased COL1A1 expression. Engineered skin substitutes in group 6 showed significantly increased area. Histologic analysis revealed abnormal collagen organization in engineered skin substitutes containing deep keloid fibroblasts or superficial keloid fibroblasts.

Conclusions:

Aspects of the phenotypes of engineered skin substitutes prepared with keloid cells are analogous to thickening and spreading of human keloid scars. Therefore, use of keloid engineered skin substitutes is a valuable new tool for the study of keloid scarring.
Guiding Local Perforator Flaps with Preoperative Imaging
Authors: Rozen Warren M. , Paddle Alenka M. , Chubb Daniel , Wilson Jeremy , Grinsell Damien , Ashton Mark W.
Published: January 2013

Background:

Perforator flap nomenclature continues to evolve, with many classification schemes reported. Each of them focuses on the fascial penetration pattern of perforators, which has no impact on flap perfusion. With the advent of advanced imaging technologies, the subcutaneous course of perforators can be highlighted for the first time, offering new insight into flap design.

Methods:

The current study presents the authors' technique for imaging local perforator flaps with computed tomographic angiography, utilizing a standard technique for perforator imaging with computed tomographic angiogram, regardless of whether the flap is a local or free flap, and regardless of body region. This technique has been used in more than 1000 image-guided perforator flaps, with the current study highlighting three such cases in different body regions.

Results:

With the use of preoperative imaging, flap design can be based on the subcutaneous ramification of individual perforators. Several ramification patterns are presented and potential improvements to nomenclature schemes suggested.

Conclusion:

With the use of preoperative imaging, “image-guided” perforator flaps that are truly axial-pattern in terms of their arterial supply can be designed.

CLINICAL QUESTION/LEVEL OF EVIDENCE:

Diagnostic: V.
Does Abdominoplasty Have a Positive Influence on Quality of Life, Self-Esteem, and Emotional Stability?
Authors: Papadopulos Nikolaos A. , Staffler Vera , Mirceva Vesna , Henrich Gerhard , Papadopoulos Othon N. , Kovacs Laszlo , Herschbach Peter , Machens Hans-Günther , Biemer Edgar
Published: January 2013

Background:

In a previous prospective study, the authors evaluated the quality of life in patients undergoing aesthetic surgery. In this survey, the authors split up the operative indication and analyzed quality of life, self-esteem, and emotional stability after abdominoplasty alone.

Methods:

Sixty-three patients participated in the study. The testing instrument consisted of a self-developed questionnaire to collect demographic and socioeconomic data and a postoperative complication questionnaire developed especially for abdominoplasties. In addition, a standardized self-assessment test on satisfaction and quality of life (Questions on Life Satisfaction), the Rosenberg Self -Esteem Questionnaire, and the Freiburg Personality Inventory were used.

Results:

Significantly increasing values in some items of the standardized self-assessment test on satisfaction and quality of life were found: sum scores of the General Life Satisfaction showed a significant improvement (p = 0.004) and the scores of the items housing/living conditions (p = 0.000) and family life/children (p = 0.000). Within the Satisfaction with Health module, a significant improvement in the items mobility (p = 0.02) and independence from assistance (p = 0.01) was found. Values in the module Satisfaction with Appearance (Body Image) increased regarding satisfaction with the abdomen (p = 0.001). Over 84 percent were very satisfied with the aesthetic result, 93.4 percent would undergo the same treatment again, and 88.9 percent would further recommend the operation. Data revealed that participants' self-esteem was very high and their emotional stability was very well balanced.

Conclusions:

This study demonstrates that abdominoplasty increases most aspects of quality of life, particularly family life, living conditions, mobility, and independency from assistance. Also, patient self-esteem and emotional stability ratings are very high postoperatively.
Methodologically Rigorous Clinical Research
Authors: Yang Lynda J.-S. , Chang Kate W.-C. , Chung Kevin C.
Published: January 2013

Background:

Rigorous methodology increases the quality of clinical research by encouraging freedom from the biases inherent in clinical studies. As randomized controlled studies (clinical trial design) are rarely applicable to surgical research, the authors address the commonly used observational study designs and methodologies by presenting guidelines for rigor.

Methods:

The authors performed a review of study designs, including cohort, case-control, and cross-sectional studies and case series/reports, and biases and confounders of study design.

Results:

Details about biases and confounders at each study stage, study characteristics, rigor checklists, and published literature examples for each study design are summarized and presented in this report.

Conclusions:

For those surgeons interested in pursuing clinical research, mastery of the principles of methodologic rigor is imperative in the context of evidence-based medicine and widespread publication of clinical studies. Knowledge of the study designs and their appropriate application, and strict adherence to study design methods can provide high-quality evidence to serve as the basis for rational clinical decision-making.
Single-Surgeon Experience of 87 Buccal Mucosal Graft Harvests
Authors: Cohen Seth D. , Armenakas Noel A. , Light David M. , Fracchia John A. , Glasberg Scot B.
Published: January 2013

Although buccal mucosa has been the preferred graft material for use in the reconstruction of anterior urethral strictures for approximately 20 years, the plastic surgery literature is lacking in studies describing and evaluating this technique. The authors sought to report their experience with the technique of buccal mucosa graft harvest for use in urethral reconstruction. The authors identified 87 consecutive patients who underwent buccal mucosal graft harvesting during a 15-year period from 1995 to 2010. All donor sites were closed primarily. Preoperatively, a specialty-specific evaluation was performed by plastic surgeons and urologists. Postoperative donor-site morbidity was followed clinically. Eighty-seven patients underwent buccal harvesting. A single buccal graft was harvested in 75 patients (86.2 percent) and bilateral grafts were harvested in 12 patients (13.8 percent). The median patient age of the patients was 42 years (range, 16 to 78 years). There were no major intraoperative or postoperative complications. Minor complications included mild discomfort, numbness, cheek swelling, and restriction of oral movement, all of which resolved by the 3-month postoperative visit. The ability to eat and drink postoperatively was diminished during only the first 24 to 48 hours in all patients. Our series provides a 1-year follow-up in a substantial cohort looking at clinical outcomes after buccal harvesting. These results confirm the safety and efficacy of buccal mucosal harvesting to provide an effective and cosmetically superior option for urethral reconstruction.

CLINICAL QUESTION/LEVEL OF EVIDENCE:

Therapeutic, IV.
The Clinical and Economic Impact of a Sustained Program in Global Plastic Surgery
Authors: Hughes Christopher D. , Babigian Alan , McCormack Susan , Alkire Blake C. , Wong Anselm , Pap Stephen A. , Vincent Jeffrey R. , Meara John G. , Castiglione Charles , Silverman Richard
Published: January 2013

Background:

The development of surgery in low- and middle-income countries has been limited by a belief that it is too expensive to be sustainable. However, subspecialist surgical care can provide substantial clinical and economic benefits in low-resource settings. The goal of this study is to describe the clinical and economic impact of recurrent short-term plastic surgical trips in low- and middle-income countries.

Methods:

The authors conducted a retrospective review of clinic and operative logbooks from Hands Across the World's surgical experience in Ecuador. The authors calculated the disability-adjusted life-years averted to estimate the clinical impact of cleft repair and then calculated the economic impact of surgical intervention for cleft disease.

Results:

One thousand one hundred forty-two reconstructive surgical cases were performed over 15 years. Surgery was most commonly performed for scar contractures [449 cases (39.3 percent)], of which burn scars comprised a substantial amount [215 cases (18.8 percent)]. There were 40 postoperative complications within 7 days of operation (3.5 percent), and partial wound dehiscence was the most common complication [16 of 40 (40 percent)]. Cleft disorders constituted 277 cases (24.3 percent), and 102 cases were primary cleft lip and/or palate cases. Between 396 and 1042 total disability-adjusted life-years were averted through surgery for these 102 cases of primary cleft repair. This translates to an economic benefit between $4.7 million (human capital approach) and $27.5 million (value of a statistical life approach).

Conclusions:

Plastic surgical disease is a significant source of morbidity for patients in resource-limited regions. Dedicated programs that provide essential reconstructive surgery can produce substantial clinical and economic benefits to host countries.
Anaphylactic-Like Reaction to Methylene Blue
Authors: Giladi Aviram M. , Kasten Steven J.
Published: January 2013

Background:

Anaphylaxis and anaphylactic-like reactions in the perioperative period are a significant concern for anesthesiologists and surgeons. With an incidence as high as one in 3500 and a mortality rate of 3 to 6 percent, proper management of these reactions is essential. The available surgical literature provides varied and unclear guidelines for determining the nature of these reactions and has no consensus treatment algorithm. The authors present a rare case of hypersensitivity reaction to methylene blue during cleft lip repair. A review of current literature for best-practice evaluation and management guidelines follows.

Methods:

Literature review was performed using search terms including “anaphylaxis,” “hypersensitivity,” “allergy,” “perioperative,” and “intraoperative.” Results from basic science literature, case reports, and clinical studies were used, as were personal communications with leading investigators in allergy and immunology.

Results:

Despite variations in incidence, reporting, evaluation, and management, the authors found that immediate treatment should include epinephrine, steroids, and histamine-1– and histamine-2–blocking agents. In the event of reactions with characteristics of anaphylaxis, obtaining tryptase levels 1, 4, and 24 hours after the event provides the most accurate biochemical evidence. Skin-prick and intradermal testing by an allergy specialist should be performed 6 or more weeks after the reaction.

Conclusions:

With the unique exposure risks in the perioperative period, it is the surgeon's responsibility to aid in the proper immediate and short-term treatment of anaphylaxis and anaphylactic-like reactions. Proper biochemical evaluation at the time of reaction can be critical in helping the patient avoid future reactions and should not be overlooked.

CLINICAL QUESTION/LEVEL OF EVIDENCE:

Therapeutic, V.
Reconstituted Injectable Hyaluronic Acid
Authors: Fagien Steven , Cassuto Daniel
Published: January 2013

Background:

As we currently have a better understanding of the components of facial aging, injectable filling agents have a larger role in nonsurgical facial rejuvenation. Many products are now available worldwide as options for treating the spectrum of indications that include particular agents used for the treatment of various facial rhytides and in larger quantities for regional or panfacial volumization. The latter indication has been most popularly treated with a host of agents classified as hyaluronans or injectable hyaluronic acid gels. The former had been traditionally and more successfully treated with injectable collagen or dermal matrix agents. Attempts to confuse these generalized approaches have often led to unsatisfactory results. With the precipitous disappearance of the availability of most injectable collagen substances, other methods of treating finer facial rhytides have been explored.

Methods:

Of the many options available for the treatment of facial fine lines, the authors describe a novel technique of formulating reduced concentrations of existing hyaluronic acid gels by variable dilution/reconstitution.

Results:

Over 350 of the authors' collective patients have been treated with this approach. The results have been highly satisfactory, with greater persistence, and have challenged traditional concepts of mechanism of action and biodegradation and suggest alternative options in formulations of currently available products.

Conclusions:

Reconstituted injectable hyaluronic acid is a highly effective and viable alternative for the aesthetic treatment of facial fine lines and other components of aging. Observations, treatment guidelines, and a rationale for this novel use and concepts to explain these finding are contained in this article.