bluuebunny/crossref_metadata_2025 huggingface dataset:
The prevalence of metabolic syndrome in Latin America: a systematic review
Authors: Márquez-Sandoval F , Macedo-Ojeda G , Viramontes-Hörner D , Fernández Ballart JD , Salas Salvadó J , Vizmanos B
Published: April 2011

Objective

To assess the available data on the prevalence of metabolic syndrome (MS) in Latin-American countries.

Design

Systematic review. Searches were carried out in PubMed, ISIWeb, SCielo and Redalyc, using ‘metabolic syndrome x’ and ‘prevalence’ as keywords for titles and/or abstracts. Articles selected were cross-sectional studies in Latin-American countries, whose main objective was to study MS and whose study population is described below. MS must be determined using Adult Treatment Panel III criteria. Twelve studies with these criteria were selected, one of which was multi-centric.

Setting

Latin America.

Subjects

Apparently healthy subjects aged 18–65 years (including young adult, mature adult and elderly populations) of both genders.

Results

The general prevalence (weighted mean) of MS in Latin-American countries was 24·9 (range: 18·8–43·3) %. MS was slightly more frequent in women (25·3 %) than in men (23·2 %), and the age group with the highest prevalence of MS consisted of those over 50 years of age. The most frequent components of MS were low HDL cholesterol levels (62·9 %) and abdominal obesity (45·8 %). Similar outcomes were obtained from the multi-centre study on Latin-American populations analysed.

Conclusions

The present review brings us closer to an understanding of the prevalence of MS in Latin-American countries. However, it is not possible to know the full scope of the problem, partly because data from some countries are not available, and because the methodological differences among the studies published up to the present limit a joint analysis of their results.
Overweight, asthma symptoms, atopy and pulmonary function in children of 4–12 years of age: findings from the SCAALA cohort in Salvador, Bahia, Brazil
Authors: Matos Sheila MA , Jesus Sandra R , Saldiva Silvia RDM , Prado Matildes S , D'Innocenzo Silvana , Assis Ana MO , Rodrigues Laura C , Alcantara-Neves Neuza M , Cruz Álvaro A , Simões Silvia de Magalhães , Barreto Maurício L
Published: April 2011

Objective

To evaluate the association between overweight and the occurrence of asthma and atopy in a cohort of children of 4–12 years of age living in the city of Salvador in 2005.

Design

Cross-sectional study nested in a cohort.

Setting

The metropolitan region of Salvador, Bahia, Brazil.

Subjects

The study included 1129 children of 4–12 years age who presented complete information on the variables used here. Skin tests for allergy, spirometry, faecal parasitology, serum IgE and anthropometric surveys were conducted. Poisson's multivariate regression was adopted.

Results

Wheezing was found in 29·1% and asthma in 22·8% of children, both conditions being more common in those under 6 years of age and 34% more common in overweight children (prevalence ratio (PR) = 1·34; 95% CI 1·07, 1·67) following adjustment. The ratio between forced expiratory volume in 1s and forced vital capacity was associated with overweight (PR = 1·35; 95% CI 1·11, 1·61). No statistically significant association was found between overweight and allergen-specific IgE or with wheezing.

Conclusions

These results are in agreement with the hypothesis that overweight is associated with asthma and pulmonary function, even following adjustment for intervening variables known to be associated with the pathogeny of asthma.
Validating an FFQ for intake of episodically consumed foods: application to the National Institutes of Health–AARP Diet and Health Study
Authors: Midthune Douglas , Schatzkin Arthur , Subar Amy F , Thompson Frances E , Freedman Laurence S , Carroll Raymond J , Shumakovich Marina A , Kipnis Victor
Published: April 2011

Objective

To develop a method to validate an FFQ for reported intake of episodically consumed foods when the reference instrument measures short-term intake, and to apply the method in a large prospective cohort.

Design

The FFQ was evaluated in a sub-study of cohort participants who, in addition to the questionnaire, were asked to complete two non-consecutive 24 h dietary recalls (24HR). FFQ-reported intakes of twenty-nine food groups were analysed using a two-part measurement error model that allows for non-consumption on a given day, using 24HR as a reference instrument under the assumption that 24HR is unbiased for true intake at the individual level.

Setting

The National Institutes of Health–AARP Diet and Health Study, a cohort of 567 169 participants living in the USA and aged 50–71 years at baseline in 1995.

Subjects

A sub-study of the cohort consisting of 2055 participants.

Results

Estimated correlations of true and FFQ-reported energy-adjusted intakes were 0·5 or greater for most of the twenty-nine food groups evaluated, and estimated attenuation factors (a measure of bias in estimated diet–disease associations) were 0·4 or greater for most food groups.

Conclusions

The proposed methodology extends the class of foods and nutrients for which an FFQ can be evaluated in studies with short-term reference instruments. Although violations of the assumption that the 24HR is unbiased could be inflating some of the observed correlations and attenuation factors, results suggest that the FFQ is suitable for testing many, but not all, diet–disease hypotheses in a cohort of this size.
Jazzing a Classic: Hylton and Stravinsky'sMavraat the Paris Opéra
Authors: MAWER DEBORAH
Published: April 2011

This article focuses upon an arrangement of part of Stravinsky'sMavramade for the British dance-band leader Jack Hylton (1892–1965), which, on its presentation at the Paris Opéra in 1931, marked a notable, yet ultimately unsuccessful, attempt at ‘jazzing a classic’. For the French critic Pierre Leroi the failure was a direct consequence of combining different musics (‘La confusion de genres aboutit toujours à un résultat mauvais’). But while the ‘contest’ of style and genre undoubtedly played its part in the negative critical reception of the transcription, the reasons for its failure were not entirely straightforward.

Drawing on Fauconnier and Turner's models of ‘conceptual blending’ and their recent applications in theories of musical ‘multimedia’, I compare Stravinsky's source and the Hylton band's jazz translation in terms of their intrinsic musical ‘attributes’, their relationship, and their potential emergent meanings. The exercise identifies commonalities and discrepancies, revealing problems with the original, the reworkings, and the resulting performances. The main issue is, however, not so much one of mixture (‘confusion’) as of imbalance between the elements invoked: ultimately, it is argued, Hylton's reading was insufficiently ‘jazzique’.
The Comfort of Denial: Metre, Cyclic Form, and Narrative in Shostakovich's Seventh String Quartet
Authors: RIVAL ROBERT
Published: April 2011

Recent scholarship has taken the leap from documenting cyclic form in Shostakovich's Seventh String Quartet to its interpretation. David Fanning, Judith Kuhn, and Sarah Reichardt, for instance, endorse a belief in the quartet's satisfactory closure. I propose an alternative reading that qualifies such resolution as merely apparent. I posit a musical ‘persona’ (Edward T. Cone) that achieves comfort in denial. I support my claim by analysing shifting hypermetre, metrical insertions, motif, and cyclic form, then weave my observations into a narrative interpretation. While acknowledging the limitations of the narrative analogy (following Carolyn Abbate, Lawrence Kramer, and Jean-Jacques Nattiez), I rely on its principal strength: the ability to help construct a compelling interpretation of the elusive ‘meaning’ of a piece of absolute music (Cone, Fred Maus, Anthony Newcomb, Leo Treitler). I conclude that the peculiar arrangement of shifting metrical identities and the DSCH-motto-related fragments tell a psychological story: of a musical persona's thwarted search for self.
Cultivated and wild Solanum species as potential sources for health-promoting quality traits
Authors: Wegener Christina B. , Jansen Gisela
Published: April 2011

In this study, several genotypes of cultivated (Solanum tuberosum subsp. andigena, S. phureja) and wild, tuber-bearing Solanum species (S. chacoense, S. pinnatisectum) were examined for concentrations of antioxidants, soluble phenols and proteins in their tuber tissue. The potato genotypes differed considerably in all these traits. Amounts of antioxidants ranged from 0.06 to 4.22 μg/mg fresh weight (fw) when the ascorbic acid equivalent was measured and from 0.08 to 3.98 μg/mg fw for the trolox equivalent. The wild species S. pinnatisectum exhibited on average higher levels of both types of antioxidants than the other Solanum species, and it also had the highest quantities of soluble phenols and proteins in its tuber tissue. Among the species, S. phureja ranked on the lowest level of antioxidant potential.
John Philip Sousa's ‘Red Indians’: A Case Study of Race in Music
Authors: Pisani Michael V.
Published: April 2011

To discover that one of popular music's most famous and enduring composers wrote a march-characteristic called ‘The Red Man’ immediately arouses curiosity about the nature and substance of such a work, the reasons for writing it, and how audiences received it. John Philip Sousa composed ‘The Red Man’ in 1910 for his world tour and, like much of his music, it is still played and recorded today. I will attempt to answer these questions by examining this lesser-known but highly distinctive Sousa composition in detail. That necessarily involves seeing the piece through a variety of lenses. Since the way in which audiences listen to music has fundamentally changed in a hundred years, the closest we can come to hearing the piece through ears of 1910 is to explore a variety of critical responses from the time published in newspapers in different countries. Since these accounts are written in a stylistic language considerably different from the way modern critics write about music, the responses need to be seen in context. Many were rooted in notions of race and ethnicity prevalent among the middle- and upper-class audiences for which Sousa composed. Moreover, Sousa's audiences listened with a host of associations that accrued during the nineteenth century and are lost to us today. This was enhanced by the type of programmes on which ‘The Red Man’ was performed, which encouraged the perception of music through a national or exotic lens, or through the filter of a narrative. The musical language of this ‘Indian’ piece is hardly unique, since it owes many of its metaphors to Sousa's contemporaries. For all his originality, Sousa was also an expert assimilator. There isn’t space here to examine every derivation in this work, but by exploring a few of them we can learn much about his music and his audiences.
African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success
Authors: Deaville James
Published: April 2011

According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.
‘Pure’ Song: ‘Du bist wie eine Blume’ and the Heine Juggernaut
Authors: Youens Susan
Published: April 2011

Anyone who ventures into the vastness of German song territory encounters a juggernaut almost immediately. Over and over again, the supplier of the words is identified as Heinrich Heine - a very great poet, to be sure, but other great poets did not leave the same mammoth imprint on the history of song as this man. Günter Metzner's catalogue,Heine in der Musik(Heine in Music), consumes twelve oversize volumes, and both Peter Shea and I have found settings that are not cited in this Herculean source. Those who peruse Ernst Challier'sGrosser Lieder-Katalog(Great Song Catalogue) of 1884 discover that nineteenth-century composers frequently chose Heine for their op. 1 entrée onto the scene, as if setting Heine to music was a rite of passage, a guarantee that attention would be paid.
The Victorian Concertina: Some Issues Relating to Performance
Authors: Atlas Allan W.
Published: April 2011

Present-day players of the ‘English’ concertina (see Fig. 1) must make a number of important decisions when delving into and performing the large repertory of art music that was written for the instrument in Victorian England. These decisions become especially critical for those who would perform the music in a manner that may at least approximate the way it may have sounded in the nineteenth century.
‘The Exile's Harp’: Tennyson's Lost World of Music
Authors: Hughes John
Published: April 2011

From the earliest reviews, the trope of music has shaped the image of Tennyson for critics and readers. Tennyson's talent is one that joins voice and ear:

Nature […] has taught Mr. Tennyson to sing as a poet should sing, – she has taught him to throw his whole soul into his harmonies.

He has a fine ear for melody and harmony too – and rare and rich glimpses of imagination. He has – genius.
Biography and Symbol: Uncovering the Structure of a Creative Life in Fanny Hensel's Lieder
Authors: Williams Briony
Published: April 2011

The bicentenary year of Fanny Hensel's birth generated a welcome degree of renewed attention to her life and music. Viewing these against the backcloth of debates about the relationships between women and the culture to which they contribute (and which they also consume) suggests a tension between, on the one hand, the image of a female composer in conflict with a patriarchal order and, on the other hand, the impression of a composer for whom considerable creative power lay in the cultural environment that she inhabited. While it is true that Hensel faced social and cultural barriers because of her sex, in order to understand her music it is essential that we consider the ways in which she could be seen to overcome those barriers, or even destroy them, through the expression of her personal voice in her compositions. Hensel's life demonstrates how closely bound up together biography and aesthetics really are. The way in which her life is portrayed can be seen to colour listeners' judgement of her music.
Leipziger Straβe Drei: Sites for Music
Authors: Borchard Beatrix , Bartsch Cornelia
Published: April 2011

We are accustomed to seeking the ‘music itself’ in the musical text. The actual and spiritual spaces that are inscribed in music, and the people connected to these sites, are thereby in danger of being left out of consideration. In my view, place and people are part of the music. It is thus against a background of an understanding of music that does not only mean the opuses in the sense of the written musical texts, but also implies all aspects of life connected with the production, reproduction and reception of music, that I offer this enquiry into the meaning of the Leipziger Straβe Drei for the artistic works emanating from Fanny Hensel.
The Illingworth Moor Singers' Book: A Snapshot of Methodist Music in the Early Nineteenth Century
Authors: Clarke Martin V.
Published: April 2011

Congregational song occupies a central place in the history of Methodism and offers an insight into the theological, doctrinal, cultural and educational principles and practices of the movement. The repertoire, performance styles and musical preferences in evidence across Methodism at different points in its history reflect the historical influences that shaped it, the frequent tensions that emerged between local practices and the movement's hierarchy and the disputes that led to a proliferation of breakaway groups during the nineteenth century. The focus of this article will be the implicit tension between the evidence of local practice contained within the Illingworth Moor Singers' Book, which forms part of the archives at Mount Zion Methodist Church and Heritage Centre, near Halifax, UK, and the repertoire and performance practice advocated by John Wesley in the latter part of the eighteenth century. While the study of a single, locally produced collection cannot be regarded as representative of wider practices, it is nonetheless useful in highlighting the need for a more nuanced approach to the history of Methodist music, which takes account of local circumstances and practices.
Race and Identity: Appraisals in France of Meyerbeer on his 1891 Centenary
Authors: Murphy Kerry
Published: April 2011

This article examines the ways in which critics and music historians in the Third Republic wrote about Meyerbeer's national and racial identity focusing particularly on the period around the time of the centenary of his birth, the period just before the explosion of the Dreyfus affair. The centenary of Meyerbeer's birth was celebrated in November 1891, by a performance to a packed audience at the Paris Opéra. Critics marked the centenary by writing substantial articles about Meyerbeer.

Although many of Meyerbeer's contemporary critics conferred honorary French citizenship on him, by 1891 a significant number saw him as lacking any national identity. This should be seen in the context of a period in which French composers were intensely debating the issue of their own national identity, and clearly since the Franco-Prussian war, they were no longer so complacent about welcoming a German as a Frenchman. Yet the perceptions of Meyerbeer's lack of national identity were also often motivated by negative associations of Meyerbeer as Jew.

Derogatory stereotypes of the Jewish composer are present in Meyerbeer criticism from the July Monarchy onwards, but in the early days of the Third Republic they change slightly in focus and also, as might be expected, become more overtly stated. This article presents a brief overview of this change in focus and concentrates on a number of discrete topics: eclecticism, nationhood, originality and artistic capitulation. The examination of this last topic leads to a short discussion of the impact of Wagner on the musical world at this time, and the effect that this had on Meyerbeer reception. The centenary celebrations occurred only two months after the success ofLohengrinat the Opéra (16 September 1891) and the proximity of the two events caused many critics to ponder whether the celebrations marked the end of Meyerbeer's reign at the Opéra and the beginning of the reign of Wagner. The centenary event forced critics to take a position on Meyerbeer's current standing in the operatic world.
Music in France in the Years 1911–1913 According to Jean Chantavoine: Independent Thinking and Political Constraints
Authors: Douche Sylvie
Published: April 2011

On the eve of the First World War the French musical press enjoyed a freedom of expression which allowed it to put works and composers into clear-cut categories. This same freedom of expression authorized it to denounce explicitly the state's stranglehold over the organization of its grand theatres through the implementation of the cahiers des charges. This study is based on the articles which Jean Chantavoine published in l'Année musicale in 1911, 1912 and 1913. He writes annual statements which were more organizationally – rather than musically – orientated, and it is this feature which forms the basis of this article. In fact, Chantavoine (1877–1952), critic for the Journal des débats, Excelsior, etc., had no hesitation in criticizing state interference in the cultural dynamic of the Opéra and the Opéra-Comique, which he saw as leading to musical productions more abundant in quantity than quality. In order to appreciate his views more fully, an overview of three cahiers des charges is provided: those of 1908 and 1914 for the Opéra and of 1911 for the Opéra-Comique. For example, since subventions were distributed unequally between the two theatres, it is noticeable that the number of productions is greater for the Opéra-Comique, when, paradoxically, it was that theatre which received the smallest financial subsidy. In summarizing the years 1911–13 Chantavoine quite rightly takes these circumstances into account, and in reviews of the years’ principal productions he unintentionally provides a more accurate picture of himself as critic than the musical year as whole. In the course of his reviews, therefore, one can observe the emergence of certain traits of his aesthetic personality. He appears a complex character, for instance, interested in folk idioms, but only if they have obvious or immediate relevance. Finally, however, he illustrates the decisive position Paris occupied in the European musical panorama, and offers readers a valuable survey of the musical years before the war.
Virtuosity Domesticated: Portraits of Franz Liszt by Two Biedermeier Artists
Authors: Davison Alan
Published: April 2011

The wide variety of nineteenth-century images of the great pianist—composer Franz Liszt (1811–1886) provides both art historians and musicologists with a rich resource through its sheer diversity and comprehensiveness. Of great potential value are the insights that Lisztian iconography may provide into the changing nature of Romanticism and music during much of the nineteenth century.
Music, Memory and Loss in Victorian Painting
Authors: Cooper Suzanne Fagence
Published: April 2011

In his collection of essays Music and Morals (1871), music critic the Rev. H.R. Haweis devoted several pages to the relationship between music and memory. Like many of his contemporaries, he believed that music could trigger recollections in acute and intense ways. He suggested that there are ‘many mediums which connect us vividly with the past but for freshness and suddenness and power over memory’ the sense of hearing is paramount. He imagines a middle-aged woman caught unawares by a few bars of music.
Britain's ‘Armies of Trained Listeners’: Building a Nation of ‘Intelligent Hearers’
Authors: Dale Catherine
Published: April 2011

‘Are you musical?’, asks Gustav Kobbé of some imaginary interlocutor in the introduction toHow to Appreciate Music(1906). ‘No’, comes the reply, ‘I neither play nor sing’. ‘But, if you can read and listen’, Kobbé continues, ‘there is no reason why you should not be more musical … than many of those whose musicianship lies merely in their fingers or vocal cords’. Kobbé's response epitomizes the shift in emphasis that had begun to occur in music education at the turn of the century from the acquisition of technical proficiency on an instrument or the voice to the cultivation of an appreciative, aesthetic understanding of music. The acquisition of performing skill had been perpetuated by the hegemony of the singing class in British music education throughout the nineteenth century. Initially, such teaching took the form of the government-sponsored continental system of ‘fixed’ sol-fa devised by Guillaume Wilhem for use in the public singing classes andcommuneschools of Paris and, from 1840, adapted by John Hullah for use in the teacher-training institution founded by James Kay-Shuttleworth at Battersea. Subsequently, there was the tonic sol-fa system with its movabledohdevised by John Curwen; this system came to replace the Hullah–Wilhem method after the Education Act of 1870, which introduced compulsory schooling in Britain and established school boards to implement local policy.
Sonorous Mechanics: The Culture of Sonority in Nineteenth-Century France
Authors: Sykes Ingrid J.
Published: April 2011

On Wednesday 24 May 1871, during the uprising of the Paris Commune, the Sacristine of the convent of the Sœurs Auxiliatrices des Ames du Purgatoire was disturbed by the sound of rapidly approaching gunfire and explosions. From the secluded convent compound in the rue de la Barouillère in Paris, she wrote in the convent diary: ‘Everyone believes that the house is shaking! . . . The Mother Superior makes an act of faithfulness to the Holy Will of God! . . . it is an explosion in the Luxembourg gunpowder magazine and our tiled floor shatters! The Tuileries, the Louvre, the Ministry of War, the Palace of the Legion of honour are in flames.’ However, the Sacristine's attention was soon shifted from the noise of conflict towards the many other types of sounds outside and within the convent. Even the sound of the doorbell began to strike with a seemingly ominous edge. At ‘1 o′clock pm: The bell rings very loudly, the Mother Superior looks out of the window, it is her brother!’ Amidst the noises of war surrounding the compound, the nuns continued their musical routine of song and organ playing: ‘6 pm: Les Mères nevertheless sing pieces to the Holy Sacrament and the Most Holy Virgin.’
The Concerto that Wasn't: Paganini, Urhan andHarold in Italy
Authors: Kawabata Maiko
Published: April 2011

It was Paganini's request for a concerto that prompted Berlioz to embark on the composition that eventually becameHarold in Italy. The legendary virtuoso, then at the height of his fame, had recently acquired a fine Stradivari viola and needed a suitable vehicle for introducing the instrument to the public. He was puzzled and disappointed by Berlioz's score. It certainly was not the anticipated virtuoso vehicle, and within months Paganini had composed a substitute for himself, theSonata per la grand viola. Berlioz explained that his work was ‘a new kind of symphony and not a composition written to show off a unique talent like [Paganini's]’. Berlioz's programmatic symphony with solo viola – the concerto that wasn't – would appear on the surface to be utterly devoid of the established codes of the virtuoso concerto.
Choral Concert Life in the Late Nineteenth-Century ‘Metropolis of the Southern Hemisphere’
Authors: Murphy Kerry
Published: April 2011

This issue of the Nineteenth-Century Music Review is devoted to Australia and more specifically to music-making in colonial Melbourne. The colony of Victoria was acknowledged as the cultural heart of Australia during the second half of the nineteenth century. Melbourne hosted two International Exhibitions in the 1880s and welcomed innumerable travelling musicians to its shores, where significant amounts of money could be made. Because of Melbourne's standing and cultural significance at the time and the extensive body of material available for study, the articles in this journal focus on this ‘metropolis of the Southern Hemisphere’. However, the activities discussed here can all be found, to varying degrees, in other parts of Australia as well. Liedertafels, for instance, were very prominent in Adelaide and its surrounding areas (and indeed still exist today), because of the significant German migration there. Philharmonic choirs were also widely established.
‘Volk von Brüdern’: The German-speaking Liedertafel in Melbourne
Authors: Murphy Kerry
Published: April 2011

A Liedertafel concert at which the former Governor His Excellency Sir Henry Loch and Lady Loch were present was reported in theIllustrated Australian News and Musical Timesof 1889 as follows:

In the course of some remarks Lord Loch made the statement that the advancement of musical culture in Melbourne is to be attributed to the influence of Germans. Now although the community includes some excellent musicians of that nationality, the opinion expressed by our late governor is by no means in accordance with facts. It is only just that honour should be given where it is due and the untiring efforts of the English musicians in the colony in educating public taste ought to be thoroughly recognised.
Process and Product in Theology and Musical Aesthetics: Improvisation as InterdisciplinaryTopos
Authors: Love Andrew Cyprian
Published: April 2011

In the course of the development of Western culture, the ideas of Plato have wielded enormous influence. One of Plato's most influential ideas is his particular conception of truth. For Plato, truth exists in a different realm of reality from ourselves, a realm unlike the things we see around us in space and time. Truth consists of ideal being or ideal essences, subsisting in what he called the world of the forms.
William Henry Fry's Leonora: The Italian Connection
Authors: Izzo Francesco
Published: April 2011

On 7 June 1845, the New York Herald published a letter by an ‘occasional correspondent’ from Philadelphia concerning William Henry Fry's first grand opera, Leonora, which premiered three days before at the Chestnut Street Theatre. The letter contained the following remark:

All were delighted with the music, it was so much like an old acquaintance in a new coat; indeed some of ‘the cognoscenti’ said that it was a warm ‘hash’ of Bellini, with a cold shoulder of ‘Rossini,’ and a handful of ‘Auber’ salt – whilst others congratulated Mr. Fry upon his opera being so much like Norma ….
Too Close for Comfort: Henry James, Richard Wagner andThe Sacred Fount
Authors: Sutton Emma
Published: April 2011

In April 1880, one of the most intriguing lost opportunities in musical-literary history took place. Henry James and Richard Wagner were staying in Posilippo, near Naples. James was beginning a two-month visit to Italy, whilst Wagner was living in the Italian town with his family, working on essays including ‘Religion und Kunst’ (1880) and preparing the staging forParsifal(1882). A mutual friend, Paul von Joukowsky, suggested to James that he and Wagner meet but the offer provoked an emphatic rejection from the American novelist. It would have taken place amid the heady bohemianism, homosexuality and obsessive aestheticism of Wagner's Italian circle of which Joukowsky was a part. No doubt their meeting would have been stilted and strained, suffused with various forms of social awkwardness, yet, as we shall see, James's explanation of his refusal has the overtones of a justification. Despite – or because of – the aborted meeting, James repeatedly returned to this unrealized encounter in his writing. He referred to the composer or his works in more than a dozen of his novels and short stories from the 1880s to the early twentieth century; these muted but resonant references suggest an informed and engaged response to Wagner and his works. It is as if, though these allusions, James re-imagined this event, composer and novelist encountering each other in numerous texts over a period of 20 years
Musical Chairs: The Construction of ‘Music’ in Nineteenth-Century British Universities
Authors: Golding Rosemary
Published: April 2011

When, in 1838, the University of Edinburgh received General John Reid's bequest founding a Chair of Music, members of the Senatus were baffled by their duty to establish a Professorship in a subject previously absent from university curricula, at an institution with no apparent call, or desire, for musical instruction. There was, furthermore, no obvious precedent for such a post elsewhere. Oxford and Cambridge's music professorships dated back to the seventeenth century, but both had been virtual sinecures since not long after their foundation. The institution of the Royal Academy of Music in the previous decade provided no model for a university subject, as it catered primarily for young ladies and aspiring professional performers, with no obviously ‘academic’ form of study. German universities included musical study but were primarily concerned with history in terms of stylistic development, with compositional ends in mind. The trustees appointed to manage the Reid bequest faced the daunting task of creating an entirely new academic subject, which needed to be divorced from current musical study and practice in order to render it suitable for the university environment.
Putting Words in the Master's Mouth: Anton Strelezki'sPersonal Recollections of Chats with Liszt
Authors: Bomberger E. Douglas
Published: April 2011

The annals of music history are filled with minor musicians whose fame was ephemeral or whose influence was negligible. Among those who have rated barely a line in the standard reference works is the pianist and composer Anton Strelezki (1858–1906). Like Anton Schindler, who made his reputation as the ‘Ami de Beethoven’, Strelezki attempted to burnish his reputation through association with a famous musical contemporary. His 21-page pamphlet entitledPersonal Recollections of Chats with Liszt, published after the death of its subject, purports to chronicle a close relationship with Franz Liszt over a period of decades, recounting lengthy conversations and reproducing extensive quotations from his famous contemporary. Because the book contains anecdotes not documented elsewhere in the Liszt literature, it demands close scrutiny for what it tells us about Liszt. It will be shown that Strelezki's story is suspect at best and probably completely fallacious, making the source unreliable for scholars of Liszt and related nineteenth-century musicians.
Mg/Ca of Globorotalia inflata as a recorder of permanent thermocline temperatures in the South Atlantic
Authors: Groeneveld Jeroen , Chiessi Cristiano M.
Published: April 2011

We present a species‐specific Mg/Ca‐calcification temperature calibration for Globorotalia inflata from a suite of 38 core top samples from the South Atlantic (from 8°S to 49°S). G. inflata is a deep‐dwelling planktonic foraminifer commonly occurring in subtropical to subpolar conditions, which qualifies it for reconstructions of the permanent thermocline. Apparent calcification depths and calcification temperatures were determined by comparing measured δ18O with equilibrium δ18O of calcite based on water column properties. Based on our core top samples, G. inflata apparent calcification depth is constant throughout the South Atlantic midlatitudes with a depth of 350–400 m within the permanent thermocline. The resulting Mg/Ca‐calcification temperature calibration is Mg/Ca = 0.72 ± 0.045/0.042 exp (0.076 ± 0.006 calcification temperature) (r2 = 0.81) and covers the temperature range 3.1°C–16.5°C. We applied our Mg/Ca calibration to gravity core PS2495‐3 from the Mid‐Atlantic Ridge at ∼41°S to test its validity by reconstructing a low‐resolution record covering the last two glacial‐interglacial cycles. Our paleotemperature record reveals large changes in temperature for Terminations I and II, when permanent thermocline temperature increased by as much as 8°C. The G. inflata paleotemperature record suggests that oceanic fronts repeatedly migrated over the location of core PS2495‐3 during the last 160 kyr. This study shows the potential of G. inflata Mg/Ca to reconstruct paleotemperatures in the permanent thermocline.
Neuro-oxidative-nitrosative stress in sepsis
Authors: Berg Ronan MG , Møller Kirsten , Bailey Damian M
Published: April 2011

Neuro-oxidative-nitrosative stress may prove the molecular basis underlying brain dysfunction in sepsis. In the current review, we describe how sepsisinduced reactive oxygen and nitrogen species (ROS/RNS) trigger lipid peroxidation chain reactions throughout the cerebrovasculature and surrounding brain parenchyma, due to failure of the local antioxidant systems. ROS/RNS cause structural membrane damage, induce inflammation, and scavenge nitric oxide (NO) to yield peroxynitrite (ONOO−). This activates the inducible NO synthase, which further compounds ONOO− formation. ROS/RNS cause mitochondrial dysfunction by inhibiting the mitochondrial electron transport chain and uncoupling oxidative phosphorylation, which ultimately leads to neuronal bioenergetic failure. Furthermore, in certain ‘at risk’ areas of the brain, free radicals may induce neuronal apoptosis. In the present review, we define a role for ROS/RNS-mediated neuronal bioenergetic failure and apoptosis as a primary mechanism underlying sepsis-associated encephalopathy and, in sepsis survivors, permanent cognitive deficits.
FieldML – a meta-language for field interchange
Authors: Christie Richard , Nielsen Poul , Bradley Chris , Little Caton , Britten Randall , Hunter Peter
Published: April 2011

FieldML is being developed as an XML standard for communicating computational field descriptions and data. Important principles in its design include building models from as few and as fundamental a set of concepts as necessary, supporting maximum reuse, and allowing the functional derivation of fields to be of unlimited complexity.This talk introduces concepts from the FieldML data model (at version 0.3), and demonstrates how they combine to describe rich field representations.
Pulsed eddy current differential probe to detect the defects in a stainless steel pipe
Authors: Angani C. S. , Park D. G. , Kim C. G. , Leela P. , Kishore M. , Cheong Y. M.
Published: April 2011

Pulsed eddy current (PEC) is an electromagnetic nondestructive technique widely used to detect and quantify the flaws in conducting materials. In the present study a differential Hall-sensor probe which is used in the PEC system has been fabricated for the detection of defects in stainless steel pipelines. The differential probe has an exciting coil with two Hall-sensors. A stainless steel test sample with electrical discharge machining (EDM) notches under different depths of 1–5 mm was made and the sample was laminated by plastic insulation having uniform thickness to simulate the pipelines in nuclear power plants (NPPs). The driving coil in the probe is excited by a rectangular current pulse and the resultant response, which is the difference of the two Hall–sensors, has been detected as the PEC probe signal. The discriminating time domain features of the detected pulse such as peak value and time to zero are used to interpret the experimental results with the defects in the test sample. A feature extraction technique such as spectral power density has been devised to infer the PEC response.
Effect of surrounding air region size on finite element modeling for permanent magnetic solenoids
Authors: Chen C. H. , Lin S. , Horwath J. C. , Hoff B. W. , Haworth M. D. , Heidger S. L.
Published: April 2011

Magnetostatic finite element modeling of permanent magnetic devices can provide accurate results only if the underlying physics is well captured in the model. A single device surrounded by an air padding region is the focus of this research. In the ideal modeling case, this padding region would be infinite in extent. Since an infinite padding region is impossible to implement, the padding sizes in modeling a permanent magnetic solenoid that can ensure accurate results were analyzed in our study. The relationship between accuracy of the simulation result and the surrounding air padding percentage in terms of the device size is demonstrated in this paper, which shows that physically impossible results can occur for a permanent magnetic solenoid if an insufficient padding percentage is used. Design engineers typically use padding percentages from 40 – 400%, and our results show that the required padding percentage depends on the openness of the magnetic circuit. A permanent magnetic solenoid may have more or less openness of the magnetic circuit when the magnetic vector of the side magnets has a larger or smaller angle β1. For a more open magnetic circuit with β1 near 90°, a higher padding percentage, up to 600%, is required. For a less open magnetic circuit with β1 ≤ 30°, 200% padding is recommended for better accuracy.
Border collision bifurcations in a two-dimensional piecewise smooth map from a simple switching circuit
Authors: Gardini Laura , Fournier-Prunaret Danièle , Chargé Pascal
Published: April 2011

In recent years, the study of chaotic and complex phenomena in electronic circuits has been widely developed due to the increasing number of applications. In these studies, associated with the use of chaotic sequences, chaos is required to be robust (not occurring only in a set of zero measure and persistent to perturbations of the system). These properties are not easy to be proved, and numerical simulations are often used. In this work, we consider a simple electronic switching circuit, proposed as chaos generator. The object of our study is to determine the ranges of the parameters at which the dynamics are chaotic, rigorously proving that chaos is robust. This is obtained showing that the model can be studied via a two-dimensional piecewise smooth map in triangular form and associated with a one-dimensional piecewise linear map. The bifurcations in the parameter space are determined analytically. These are the border collision bifurcation curves, the degenerate flip bifurcations, which only are allowed to occur to destabilize the stable cycles, and the homoclinic bifurcations occurring in cyclical chaotic regions leading to chaos in 1-piece.
Current-driven chaotic magnetization dynamics in microwave assisted switching of spin-valve elements
Authors: d’Aquino M. , Di Fratta G. , Serpico C. , Bertotti G. , Bonin R. , Mayergoyz I. D.
Published: April 2011

The switching process of a uniformly magnetized spin-valve is considered. The system is subject to external dc applied fields and injected radio-frequency (RF) spin-polarized currents. The possibility of using the RF power to obtain a reduced coercivity of the particle is related to the onset of chaotic magnetization dynamics for moderately low values of the RF current amplitude. Perturbation technique for the estimation of the reduced coercive field is developed and applied to the microwave assisted switching of the particle. Numerical simulations confirm the predictions of the theory.
Magnetization reversal processes of epitaxial Fe3Si films on GaAs(001)
Authors: Liu Y. C. , Chang P. , Huang S. Y. , Chang L. J. , Lin W. C. , Lee S. F. , Hong M. , Kwo J.
Published: April 2011

We report magneto-optical Kerr microscopy study of the magnetic reversal behavior of Fe3Si/GaAs(100) epitaxial thin films grown by molecular beam epitaxy. Results are described in the context of superconducting quantum interference device and Kerr effect vector magnetometry to study the magnetic switching behavior. By tuning the Fe concentration of the samples from 75% to 83%, we found that the ratio of uniaxial to cubic anisotropy constants γ (= |Ku/K1|) would tremendously vary from 0.06 to 0.3. When the field was applied along the easy axis of Fe3Si samples, a step feature was observed in the M-H loops. This feature has been resolved in the domain image by Kerr microscopy, in which we observed a two-switching behavior at the field where the step feature occurred. These can be qualitatively understood by considering the ratio γ.
Spin scattering asymmetric coefficients and enhanced specific interfacial resistance of fully epitaxial current-perpendicular-to-plane giant magnetoresistance spin valves using alternate monatomic layered [Fe/Co]n and a Ag spacer layer
Authors: Jung J. W. , Shiozaki R. , Doi M. , Sahashi M.
Published: April 2011

Using current-perpendicular-to-plane (CPP) giant magnetoresistance (GMR) measurement, we have evaluated the bulk and interface spin scattering asymmetric coefficients, βF and γF/N and the specific interfacial resistance, AR*F/N, for exchange-biased spin-valves consisting of artificially ordered B2 structure Fe50Co50 and Ag spacer layer. Artificially epitaxial ordered Fe50Co50 superlattices have been successfully fabricated on MgO (001) substrate by alternate monatomic layer (AML) deposition at a substrate temperature of 75 °C. The structural properties of the full epitaxial trilayer, AML[Fe/Co]n/Ag/AML[Fe/Co]n, on the Ag electrode have been confirmed by in situ reflection high-energy electron diffraction and transmission electron diffraction microscopy. A considerably large resistance-area product change and MR ratio (ΔRA > 3 mΩμm2 and MR ratio ∼5%) were confirmed even at thin AML[Fe/Co]n layer at room temperature (RT) in our spin-valve elements. The estimated values of βF and γF/N were 0.80 and 0.84 ± 0.02, respectively, from the Valet–Fert theory analysis of ΔRA as a function of thickness of the ferromagnetic layer (3, 4, and 5 nm) on the basis of the two-current model.
Enhancement of magnetization at morphotropic phase boundary in epitaxial BiCoO3-BiFeO3 solid solution films grown on SrTiO3 (100) substrates
Authors: Naganuma Hiroshi , Yasui Shintaro , Nishida Ken , Iijima Takashi , Funakubo Hiroshi , Okamura Soichiro
Published: April 2011

The xBiCoO3-(1-x)BiFeO3 [0 ≤ x ≤ 58 at. %] solid solution films were epitaxially grown on SrTiO3 (100) substrates, and the dependence of the magnetic properties on the BiCoO3 concentration was systematically investigated. The remanent magnetization (Mr) and coercive field (Hc) increased with the BiCoO3 in the case of rhombohedral composition (x ≤ 18 at. %), and it maximally enhanced at morphotropic phase boundary (MPB) (20 ≤ x ≤ 25 at. %). The magnetization decreased in the case of a tetragonal structure (30 at. % ≤ x). The magnetoelectric (ME) effect at room temperature expect to observe for the BiCoO3-BiFeO3 solid solution films in the case of the rhombohedral structure and for MPB.
Calculated electronic and magnetic structure of screw dislocations in alpha iron
Authors: Odbadrakh K. , Rusanu A. , Stocks G. M. , Samolyuk G. D. , Eisenbach M. , Wang Yang , Nicholson D. M.
Published: April 2011

Local atomic magnetic moments in crystalline Fe are perturbed by the presence of dislocations. The effects are most pronounced near the dislocation core and decay slowly as the strain field of the dislocation decreases with distance. We have calculated local moments using the locally self-consistent multiple scattering (LSMS) method for a supercell containing a screw-dislocation quadrupole. Finite size effects are found to be significant indicating that dislocation cores affect the electronic structure and magnetic moments of neighboring dislocations. The influence of neighboring dislocations points to a need to study individual dislocations from first principles just as they appear amid surrounding atoms in large-scale classical force field simulations. An approach for the use of the LSMS to calculate local moments in subvolumes of large atomic configurations generated in the course of classical molecular dynamics simulation of dislocation dynamics is discussed.
Magnetization reversal of L1 FePt/Co/Fe trilayers
Authors: Liao J. L. , Zhang X. H. , Ma B. , Zhang Z. Z. , Jin Q. Y.
Published: April 2011

With a thin Co layer inserted into the L10-FePt(3 nm)/Fe(2 nm) ECC structure, a large reduction of coercivity is observed in such a graded trilayer, with a minimum value of 1.45 kOe when the Co thickness is 2 nm, similar to that of FePt(3 nm)/Fe(4 nm). The magnetization reversal in both FePt/Fe and FePt/Co/Fe structures is carefully studied by the vector vibrating sample magnetometer. The nucleation, wall compression, and irreversible magnetization rotation are discussed.