bluuebunny/crossref_metadata_2025 huggingface dataset:
How long are tidal channels?
Authors: SEMINARA G. , LANZONI S. , TAMBRONI N. , TOFFOLON M.
Published: November 2009

Do tidal channels have a characteristic length? Given the sediment characteristics, the inlet conditions and the degree of channel convergence, can we predict it? And how is this length affected by the presence of tidal flats adjacent to the channel? We answer the above questions on the basis of a fully analytical treatment, appropriate for the short channels typically observed in coastal wetlands. The equilibrium length of non-convergent tidal channels is found to be proportional to the critical flow speed for channel erosion. Channel convergence causes concavity of the bed profile. Tidal flats shorten equilibrium channels significantly. Laboratory and field observations substantiate our findings.
Endoscopic sinus surgery: evolution and technical innovations
Authors: Govindaraj S , Adappa N D , Kennedy D W
Published: November 2009

Prior to the introduction of functional endoscopic sinus surgery, several surgeons had begun to use telescopes to perform surgical procedures in the nose and sinuses. However, the central concepts of functional endoscopic sinus surgery evolved primarily from Messerklinger's endoscopic study of mucociliary clearance and endoscopic detailing of intranasal pathology. The popularity of a combination of endoscopic ethmoidectomy plus opening of secondarily involved sinuses grew rapidly during the latter part of the twentieth century, and endoscopic intranasal techniques began to expand to deal with pathology other than inflammation. We present a review of the evolution of knowledge regarding the pathogenesis of inflammatory sinus disease since that point in time, and of the impact that this has had on the management of inflammatory sinus disease. We also detail the technological advances that have allowed endoscopic intranasal techniques to expand and successfully treat other pathology, including skull base and orbital disease. In addition, we describe evolving technologies which may further influence development within this field.
Significance of free radical injury in laryngeal and hypopharyngeal cancers
Authors: Manjunath M K , Annam V , Suresh D R
Published: November 2009

Background and objectives:

Laryngeal and hypopharyngeal cancer is a multifactorial disease caused by various carcinogens such as tobacco, alcohol and viruses. Likewise, oxidative stress is known to cause aberrations in the cell membrane and DNA, leading to cancer. We conducted this prospective study in order to evaluate the level of oxidative stress in laryngeal and hypopharyngeal cancer patients.

Methods:

Fifty patients with laryngeal and hypopharyngeal cancer and 40 control subjects were selected. Serum malondialdehyde concentrations and ferric reducing antioxidant power were assessed, in order to evaluate oxidative stress. Results were analysed by Student's t-test.

Results:

Malondialdehyde levels were significantly higher and ferric reducing antioxidant power lower in the cancer patients, compared with the controls, indicating higher oxidative stress in the former. There was no statistically significant difference in malondialdehyde concentration or ferric reducing antioxidant power, comparing patients with versus without neck secondaries, and patients with early stage versus late stage tumours.

Conclusion:

Oxidative stress may have a role to play in the initiation of laryngeal and hypopharyngeal cancers, especially in patients with other risk factors such as tobacco and alcohol use.
News about the reproductive ecology of the southern conger eel Conger orbignianus
Authors: Figueroa Daniel E. , Macchi Gustavo , Haimovici Manuel
Published: November 2009

Congrids inhabit the warm and temperate seas of the world, from the coastline to the slope of various continents. Many of its species are much valued by commercial and artisan fishing; nevertheless, at world level, there is great ignorance about the life cycle of the members of this genus. Some species of the genus, such as those from the North Atlantic, appear to be semelparous, for they cease feeding, decalcify, loose their teeth and migrate to deep waters to spawn. Specimens of the southern conger eel Conger orbignianus were examined for the purpose of learning about their biology in waters of the western South Atlantic. Histological sections were analysed from ovaries of coastal conger specimens from the North Argentina coastal littoral, the Argentine Sea deep waters, and the giant congers from southern Brazil. Two oocitary generations have been observed in coastal females typical of total spawners, with a previtellogenetic batch that does not reach maturity, and a vitellogenetic batch that does it together with its size, completely surrounded by adipose tissue. The ovaries of fish captured in deep waters occupied the whole abdominal cavity, with scarce adipose tissue and degraded body. The giant congers from southern Brazil were captured in very deep waters, healthy, with few atretic oocytes and abundant adipose tissue. Evidence of semelparity was found in the southern conger eel; the asistosis stage, the body degradation during the reproductive migration and gigantism might be common attributes in other species of the genus.
New record and new species of Scolelepis (Polychaeta: Spionidae) from the Venezuelan Caribbean
Authors: Delgado-Blas Víctor Hugo , Díaz Díaz Oscar F. , Liñero-Arana Ildefonso
Published: November 2009

Two species of Scolelepis were found off the Venezuelan coast, one of these is a new record for this region, and the other is a species new to science: Scolelepis (Scolelepis) lighti Delgado-Blas, 2006, and Scolelepis (S.) andradei sp. nov., respectively. Scolelepis (Scolelepis) lighti was previously known only from the Gulf of Mexico and Florida, but the Venezuelan specimens closely match the original description. Scolelepis (S.) andradei is distinguished by the fusion of the anterior and posterior branchiae to the notopodial lamellae, bidentate notopodial hooded hooks starting from setigers 23–29, and the absence of notopodial hooks.
Nation on a Platter: the Culture and Politics of Food and Cuisine in Colonial Bengal
Authors: SENGUPTA JAYANTA
Published: November 2009

This paper examines themes related to cooking, food, nutrition, and the relationship between dietary practice and health in late-nineteenth century and early-twentieth century Bengal, and argues that food and cuisine represented a vibrant site on which a complex rhetorical struggle between colonialism and nationalism was played out. Insofar as they carried symbolic meanings and ‘civilisational attributes’, cooking and eating transcended their functionality and became cultural practices, with a strong ideological-pedagogical content. The Bengali/Indian kitchen, so strongly reviled in European colonialist discourses as a veritable purgatory, became a critically important symbolic space in the emerging ideology of domesticity during the colonial period. The gastronomic excesses of gluttonous British officials—crucial in asserting the physical superiority of a ‘masculine’ Raj—became an object of ridicule in Bengali culinary texts, signifying the grossness of a materialistic. The cooking and eating of food thus became deeply implicated in the cultural politics of bhadralok nationalism.
A molecular phylogeny of the benignTheileriaparasites based on major piroplasm surface protein (MPSP) gene sequences
Authors: JEONG W. , YOON S. H. , AN D. J. , CHO S.-H. , LEE K.-K. , KIM J.-Y.
Published: November 2009

To investigate the phylogeny of benignTheileriaparasites, we determined the complete major piroplasm surface protein (MPSP) gene sequences for 6 benign theilerial organisms, including the first from tick. Sequences were analysed alongside published sequences for 39 benignTheileriaparasites, using Bayesian inference and maximum parsimony. All MPSP sequences were 852 nucleotides, except for Gansu, Wuchangbuf, VB01, and VB01; Gansu contained 873 nucleotides, and the other 3 had 855. Deduced amino acid sequences contained 284 residues, except for Gansu (291) and Wuchangbuf, VB01, and VB01 (285 each). Pairwise comparisons showed identities among 45 theilerial MPSP sequences ranging from 70·9 to 99·8% for nucleotide and 71·0 to 100% for amino acid sequences. Our results clearly indicate that all global parasites, excluding Brisbane, were classified into 1 of 8 types; 6 types ofTheileriaexist in Korea. Each type, excluding Type 6, has several type-specific amino acid sequences. The phylogenetic tree derived from the nucleotide sequences showed 2 sister-group relationships, Type 2+Type 7 and Type 3+Brisbane, with a new branching pattern: (Type 6 (Type 8 ((Type 2, Type 7), (Type 1, (Type 4, (Type 5, (Type 3, Brisbane))))))). Our sequence data showed no geographical influence on worldwideTheileriaparasite distribution.
James MacMillan
Authors: Johnson Stephen
Published: November 2009

It seems one has to start with Isobel Gowdie. Whatever neophobic propogandists may say, there have been warm receptions for other new works at Promenade Concerts, but the thunderous, ecstatic welcome given to James MacMillan's The Confession of Isobel Gowdie at the 1990 Proms was unprecedented. What made it more remarkable was that this was a capacity Saturday night audience, largely attracted – or so one presumes – by Beethoven's Fourth Symphony and the prospect of hearing the brilliant young Korean violinist Dong Suk-Kang play the Sibelius Violin Concerto. What proportion of that audience was further lured by the picture in the Proms brochure of the good-looking young man, posing moodily in front of the Glasgow Celtic football ground, and the article underneath, with its promise of a heady mixture of catholic-socialist-Scottish indignation, is anybody's guess – but it can't have been the majority.
The Music of Bill Hopkins: a preliminary approach
Authors: Hodges Nicolas
Published: November 2009

When Bill Hopkins died of a massive heart attack in March 1981, at the age of 37, the loss was immense, not only for his family and friends, but also for the music world at large. Those who have actually listened to his music (they are fewer than one would suppose) have judged that his potential was huge, one commentator being ‘sure he would have become a considerable force, comparable perhaps with Pierre Boulez’. However, rather than a dismissal of his work as promise unfulfilled, more appropriate would be a celebration of the startling achievement his completed works in fact represent – as I hope this article, and further performances, will demonstrate.
Robin Holloway: in medias res
Authors: Anderson Julian
Published: November 2009

Nearly 15 years have passed since Tempo devoted a whole issue to the music of Robin Holloway. And though that issue remains unsurpassed in its breadth of scope and euriditon, much has happened in Holloway's oeuvre and music generally to make a re-assessment necessary, and indeed urgent. Here I shall merely cover some of the basic ground, and attempt a slightly different view on the output of a composer whose finest works will surely stand as some of the most important produced in this country since the war.
Louis Andriessen: Polity, Time, Speed, Substance
Authors: Wright David
Published: November 2009

Timeo danaos et dona ferentes is usually construed as the old tag that warns against Greeks who came bearing gifts. But shouldn't we be just as suspicious of contemporary music bearing classical texts, whether they be Greek and authoritarian in tone, or the Latin speculations of a Philosopher Saint? Particularly when the composer in question, Louis Andriessen, is a radical who espouses Anarchist politics but also writes works which feature extensive stylistic reference to Boogie-Woogie. Clearly this combination represents a curiously individual – even bizarre – viewpoint, but does it need to be taken very seriously? After all, it's open to any composer to incorporate chunks of Plato and St Augustine as an intellectual gloss or as a form of recondite titivation – added flavours in the musical recipe, expressly designed to convey gravitas. So do Andriessen's own raids on classical philosophy (among others) amount to more than a questionable sort of opportunism? And if the purpose is demonstrably serious, is the musical result able to bear the weight of the issues it seeks to deal with? In this article I shall focus on three ‘concept’ pieces by Andriessen (De Staat, 1972–76; De Tijd, 1980–81, De Snelheid, 1982–83, rev. 1984) which, together with De Materie (Parts I–IV, 1985/8) occupy a central place in his oeuvre. I shall attempt to outline the nature of the relationship in these works between the background philosophical issues and the musical result, while discussing how their musical idiom responds to the compositional challenges posed by their subject matter.
Carter's ‘Classic’ Modernism
Authors: Bye Antony
Published: November 2009

In a recent interview Elliott Carter reaffirmed his commitment to ‘modernism’, a concept which he went on to define – with respect to music – as ‘the concern with an expanded vocabulary which Stravinsky, Varése and Schoenberg introduced before the first world war – and after’. This ‘expanded vocabulary’ involved ‘Not only the whole field of dissonance, but also new points of view about rhythm and new sonorities’. Carter's musical modernism was also bound up with an awareness ‘that we were living in a world… completely changed by the writings of Freud’ and that ‘the whole sense of the subconscious and the conscious were much more intricately involved that we had thought’.
The Literary Sources of ‘Die Glückliche Hand’
Authors: Beck Tom
Published: November 2009

Schoenberg's second opera, Die Glückliche Hand (1910–13), is a work of crucial importance for the understanding of the composer's subsequent development. Not only does it foreshadow the later and incomplete Die Jakobsleiter, but in reaching out into related artistic fields it brings together for the first time in Schoenberg's career a number of threads that were to be of great significance for him both as man and creator.
Korean Composers in Profile
Authors: Babcock David
Published: November 2009

Ancient, ornately carved palaces in the midst of a megalopolis, the spirituality of delicate green Koryo celadon, an archaic traditional music as pungent (and delicious) as kimchi – once experienced, never forgotten. Add to these the city of Kyongju, called the ‘museum without walls’, the many reminders of a long history of suffering under Japanese oppression and the uninterrupted excellence of its poetry and visual arts, and one begins to feel Korea's special quality. The country is prosperous; education in all fields, including the arts, is given high priority. Contemporary life is vibrant and intense; the people possess a seemingly boundless capacity for hard work as well as for celebration, festivity, ceremony and mourning – and for music-making. Hardly surprising, then, that the compositional scene in the Republic of South Korea is booming, to say the least.
Helmut Lachenmann's Concept of Rejection
Authors: Hockings Elke
Published: November 2009

The eminent German composer Helmut Lachenmann enjoys an exalted reputation among a small circle of English contemporary music enthusiasts. To the wider English music public, though, he is little known. There are hardly any comprehensive accounts of Lachenmann in English. His consciously elusive compositional style could even be introduced to the English audience as ‘old-guard avantgarde’ without being challenged at all.
Modernism, Functionalism, and Tradition: The Music of Friedrich Goldmann
Authors: Williams Alastair
Published: November 2009

The current reappraisal of tradition, along with an interest in a music that deals with concrete emotions and which has a direct appeal to audiences, sounds a certain resonance with the aesthetic doctrines that prevailed in the former communist bloc. A sense of history is vital to socialist politics, but the availability of a symphonic tradition to Soviet composers after a break with that heritage suggests a state of posthistoire; a condition normally associated with postmodernism. The postmodernist reappraisal of the past is anticipated by, for example, Shostakovich's complex and sometimes ironic relationship to the symphonic tradition. Conservative traditionalism in the East maintained to be a critique of high modernist principles; in the West, ironically, a turn to tradition is now put forward as an alternative to the same rationalist modernism. At the moment when the achievements of the historical avant-garde and of high modernism have become fully available to the former Eastern Europe, the former Western Europe is engaged with the reappraisal of tradition. Even where a modernist music did develop in Eastern Europe – as, for example, it did in Poland – it was followed by a move back to more traditional techniques. The consequence of this inclination is that composers such as Górecki and Pärt, who employ traditionally-based expressive languages, have shot onto centre stage. The point is that composers from the former communist bloc have already encountered many of the issues that now preoccupy some contemporary composers in the capitalist West.
Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music
Authors: Delaere Mark
Published: November 2009

‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.
John Harbison and his music
Authors: Seabrook Mike
Published: November 2009

At any point in history there are always a few solid, value-for-money composers who ignore all vogue and convention and just quietly get on with the job of composing the music that is inside them, waiting to be written down. Abjuring all fashions and trends, all movements and isms, they defy the bizarre human compulsion to categorize and pigeon-hole and lump into groups. I have a strong feeling that it is these unclassifiable, dogged individualists who carry the flag of music history forward: who form the handful of composers by whom each epoch is remembered and represented in centuries to come. While second-guessing posterity is one of the more fatuously pointless of human activities, it is a reasonable certainty that John Harbison is one such figure.
‘Music is not a solitary act’: conversation with Luciano Berio
Authors: Muller Theo
Published: November 2009

The house is tucked away behind a corner of the road. Once you have passed the gate, the entrance lane, three sleepy dogs, the hall, a spacious living room and the doors to the terrace, you are face to face with the most magnificent Tuscan landscape imaginable. The view of the hills is unspoilt, as is the silence around. It's the ideal place for Luciano Berio to create the colourful, imaginative sound-world that has made him, at the age of 70, one of the most popular and admired composers of today.
Webern's Wrong Key-Signature
Authors: Puffett Derrick
Published: November 2009

The attribution of influence in music – usually, the influence of one composer on another – is a notoriously slippery business, one whose results are apt to seem arbitrary and impressionistic. Recently musicologists, inspired by the example of Harold Bloom in literature (The Anxiety of Influence, 1973, and several subsequent works) have tried to make the study of influence more rigorous. This has sometimes meant the setting up of a formidable theoretical apparatus, the complexity of which can make one lose sight of the simplicity of the musical relationships involved. The pursuit of theory easily becomes an end in itself: as one commentator has observed, references to Bloom, in such discussions, have now become more or less de rigueur, with authors rushing to demonstrate their familiarity with misprision, revisionary ratios and other Bloomian categories. As will be apparent, I am not primarily interested in influence as a matter of anxiety: influence when it shows itself is usually obvious enough (by which I mean obvious to the ear), and the obviousness of the connexion tends to make it uninteresting and further discussion redundant.
Birtwistle's ‘Pulse Shadows’
Authors: Hall Michael
Published: November 2009

By alternating his Nine Movements for String Quartet with his Nine Settings of Paul Celan (for soprano, two clarinets, viola, cello and double bass) to produce Pulse Shadows, Harrison Birtwistle created not only his longest work for the concert hall but also his most moving and affirmative.
‘Preliminary workings’: the precompositional process in Maxwell Davies's Third Symphony
Authors: Jones Nicholas
Published: November 2009

The overriding picture that emerges from the scrutiny of the sketches for Peter Maxwell Davies's Third Symphony (1984) is the remarkable insight it affords in demonstrating a highly proficient composer in total control of his material. He is the consummate workman: diligent, methodical, economical. Indeed, his rather cerebral approach can be construed as objective – purely in the sense of the detached and calculating nature of the sketches, seemingly free as they are from spontaneous outpourings of instinctive musical inspiration. Nevertheless, Davies's method of composing endows the overall project with a sense of cogent direction and powerful meaning. Such discernment is not easily achieved, and has to be carefully planned early on in the work's genesis; certainly, the Third Symphony – a prodigious piece of architecture lasting almost one hour – is enriched by its preliminary working-out. Furthermore, Davies's employment of precompositional determinants, such as Magic Squares and pitch and durational matrices, is so integral to the overall construction of the piece that there exists a susbstantial volume of material, soley devoted to precompositional workings for the work.
More than mere masquerades of sounds: the music of Detlev Glanert
Authors: Rickards Guy
Published: November 2009

It was Yehudi Menuhin who said of Enescu that one of the Rumanian's most important qualities as a composer was his humanity. The same could be said of the late Vagn Holmboe: one found that the music was like the man – warm, humane, exceptionally well-balanced, both aurally and in expression. One could not imagine hysterical utterances from either, even when the music is clearly expressing outrage – as in Holmboe's Fifth Symphony. Detlev Glanert, one of the most personable composers I have met, makes a bike impression. He bears little traceof any artistic Ego, although he is very aware of his destiny as a composer. His conversation is easy-going and affable, changing to quiet earnestness when discussing graver matters. These qualities shine through in his music, which covers a wide variety of expressive mood and content, from the straightforwardly abstract (as in the second Chamber Sonata, Gestalt, op.32, of 1995), through the surreal contrasts of Marmormeer (‘Sea of marble’, one of the Four Fantasias for piano, op. 15,1987–8) which originated as a concept in a dream of the composer's, to the main climax of the First Symphony, op.6 (1985) – a graphic, vividly-scored depiction of the terror felt as one's own door is being battered down (see Ex.1).
The ABCs of Alfred Schnittke (1934–1998)
Authors: Volkov Solomon
Published: November 2009

Among his friend in Moscow, Alfred Schnittke was affectionately known as Alf. In Russia this nickname sounded vaguely foreign, as if to highlight how exotic Schnittke's presence was in the dreary life of Soviet Moscow. There he could have easily passed for a Martian.
Kurtág's Instrumental Music, 1988–1998
Authors: Willson Rachel Beckles
Published: November 2009

During the 20 years that followed the completion of his first vocal work, The sayings of Páter Boniemisza op.7 (1963–68), György Kurtág established himself as a composer with an exceptional aptitude for vocal writing. His compositions for voice outweigh those for instruments alone in both quantity and substance throughout this period, during which his second string quartet, Hommage à Mihály András (12 Microludes) op. 13 (1977), is a ravishingly beautiful anomaly.
Foxes and vixens: an update on the music of Vic Hoyland
Authors: Marsh Roger
Published: November 2009

Bleak House Farm lies down a muddy track which leads off Heslington Lane, quite close to York's main golf course and a stone's throw from the grey concrete campus of the university. Here, in 1969, in a field more often than not unapproachable without Wellington boots, stood a dilapidated modern caravan just big enough for the occupant and his eight cats. The occupant, who kept halfcopied transparencies of music by himself and his teacher rolled up under the bed, was Vic Hoyland. His motive for such an existence was neither masochism nor romantic self indulgence, but extreme hardship. The cats – all related by vigorous in-breeding – had short legs and voracious appetites.
Magnus Lindberg's Recent Orchestral Music
Authors: Long Stephen
Published: November 2009

The decades immediately following World War II constituted a flourishing period of musical innovation on the international scene, encompassing a considerable range of stylistic orientations and techniques. Exploration that led to genuinely innovative compositional practices involving relationships among melody, harmony, rhythm, and timbre reached fruition by the mid-1980s. Accordingly, the challenge to composers who emerged during this latter period was twofold: to develop personal styles through a discriminating selection from this large heritage of techniques and stylistic resources – and, in the process, to avoid imitating composers who had used them earlier. In countries not dominated by any particular compositional doctrine – most notably the United States, Great Britain and the Nordic countries – important composers emerged as consolidators who combined and synthesized these resources in a fresh and individual manner. One who has responded most successfully to this challenge is Finland's Magnus Lindberg.
‘Conversational opera’ chez Strauss
Authors: Murray David
Published: November 2009

Richard Strauss is widely believed to have explored, and perhaps to have developed, a new line in ‘conversational opera’, from Intermezzo (1924) to his last opera Capriccio (1942) – with divergences from the path, admittedly, along the way. Yet lengthy consideration has made me conclude that there was never any such path, nor that Strauss ever tried to follow one.
Strauss's Autumn Glory
Authors: Kennedy Michael
Published: November 2009

With Capriccio – completed in August 1941 although not performed until October 1942 – Strauss told his friend and biographer-elect, the Swiss critic Willi Schuh, ‘my life's work is at an end’. It was an exaggeration, true only so far as his operatic work was concerned. Strauss could not live unless he had some work to occupy him, and in the dark days of 1942, when he was living partly in Garmisch and partly in Vienna and knew himself at the age of 78 to be under surveillance by the Nazi régime, he needed the solace of work more than ever. He diverted himself after Capriccio with the idea of a tone-poem with choral finale about the Danube as a centenary offering to the Vienna Philharmonic Orchestra. He filled four note-books with sketches for Die Danau, but he was unable to work up much enthusiasm for it. As he told the orchestra, ‘feeling does not turn itself into melodies as quickly as it did with the great old masters’. He told them he would finish it one day, but he never worked on it again.
Through the Spectrum: The New Intimacy in French Music (I)
Authors: Pugin Tristram
Published: November 2009

The image of French music from the late 18th century to the present day in its European context is less clear in most people's minds, even most French people's minds, than one could reasonably expect. Yet it has a decisive bearing on what one makes of contemporary developments. There are too few names involved, for one thing, and the lines of influence drawn do not always point in the right direction. In particular, historical ascendancy is blurred, not least because too many musicologists who ought to know better base their work on that shakiest of grounds, ‘accepted repertoire’. Manuals repeat uncritically the opinions of Grimm and Rousseau on the shortcomings of le style français without bothering to uncover the influence of Rameau and Armand-Louis Couperin on Schobert – and through him on the young Mozart. Beethoven's ‘heroic’ manner is most often thought to be the outcome of an instinctively ‘romantic temperament’ exploding Viennese classicism from inside, when in fact it was largely prompted by French composers of the revolutionary period such as Méhul and Gossec (something altogether natural in a composer born in the Rhine–Palatinate). The beginning of a new contrapuntal spirit in French music is often credited to Gounod and his discovery of Bach, to detriment of Böely both as composer and performer.
Objects of contemplation and artifice of design: Sonic structures in the music of George Benjamin
Authors: Lack Graham
Published: November 2009

The icicle clearly delineated by the opening gesture of the upper strings in George Benjamin's A Mind of Winter is an original notational conceit, achieved by staggering the entries of the first and second violins so that a kind of stalactite is readily discernible on the page. It is the spacing of this cluster of minor seconds inside a defined timbral field and the precision with which the composer accords these, the smallest intervals within chromatic space, a rigorous series of durations, their hard edges rendered diffuse by almost inconsequential glissandi, that allows what might become academicism in the hands of a lesser craftsman to take on such a vibrant sonority. That this symbol of the coldest season is preceded by a percussionist's practically imperceptible roll with soft sticks on a suspended cymbal shows a composer deliberately relying on onomatopoeic devices to conjure up a soundscape percolated by such wintry gusts, themselves ushered in by a brief but telling period of silence that ‘fills’ the first, empty bar.
‘…my duty to defend the truth’: Erich Schmid in Schoenberg's Berlin Composition Class
Authors: Walton Chris
Published: November 2009

The student of Swiss music history cannot but notice certain parallels in the lives of that country's finest composers – parallels that seem, at first glance, to explain why the student of Swiss music history is such a rare creature. Theodor Fröhlich (1803–1836) left Switzerland to study with Zelter in Berlin. Instead of staying to seek fame and fortune in the Prussian metropolis thereafter, he returned to his native Aarau, where he was forced to earn his keep by conducting assorted amateur choirs and ensembles. Johann Carl Eschmann (1826–1882) studied with Mendelssohn in Leipzig, began a promising career by experimenting with modernistic cyclic structures, but then relegated himself to conducting amateur choirs in darkest Canton Schaffhausen. Othmar Schoeck (1886–1957) studied in Leipzig with Reger, but he too soon returned home to tread in his forebears' footsteps. Numerous others followed the same path. It is as if the culprit were a common genetic trait, some strand of DNA that led generations of Swiss composers briefly to the Teutonic north before compelling them to plunge back into Helvetic obscurity. Or perhaps the yearning to hear cowbells tinkle and see the twinkle of brightly polished doorknobs on distant Alpine chalets is so overwhelming as to propel homewards any Swiss musician sojourning abroad for more than a few months. The cynic may scoff; but the present writer, in voluntary exile from his erstwhile Helvetic homeland, can vouch for the attraction of both.
Andrzej Panufnik and the Pressures of Stalinism in Post-War Poland
Authors: Boleslawska Beata
Published: November 2009

Like many other composers, Andrzej Panufnik lost his entire musical oeuvre as a result of the Warsaw Uprising. By then he was already the composer of two symphonies, a piano trio, the Five Polish Peasant Songs and Tragic Overture. This last piece, which he had conducted himself in occupied Warsaw in 1944, had brought him considerable success. Listeners felt its terrifying resonance inaddition to appreciating its masterful construction, and the event remained in many people's memory for years, establishing Panufnik's musical position as a composer as well as a conductor. (Before the war, he had graduated from the Warsaw Conservatory with degrees in both fields, and later studiedconducting at Vienna's Hochschule fur Musik with one of the greatest conductors of the time, FelixWeingartner.) His pre-war compositions, premiered in the late 1930s, had already been very well received by the critics. There was no doubt that Panufnik would play a significant role in post-war Polish musical life.
‘The Hymn of Jesus’: Holst's Gnostic Exploraton of Time and Space
Authors: Head Raymond
Published: November 2009

Gustav Holst's The Hymn of Jesus (written in August 1917) has always been one of his most widely performed works. Its first performance in London in 1920 was an outstanding success; Vaughan Williams, the dedicatee, said he just ‘wanted to get up and embrace everyone and then get drunk’. Yet perhaps it is taken too much for granted. There remains the mystery why Holst chose to set an obscure Gnostic text in ancient Greek at a time of national catastrophe in the First World War. What was he offering his audience?
William Sweeney and the Voice of the People
Authors: Reid-Baxter James
Published: November 2009

‘Rise to birth with me now, my brother …’

William Sweeney's most extended work to date is also his best-known, thanks to its having been broadcast three times. Most recently, and appropriately, his 70-minute setting of Hugh MacDiarmid's epic A Drunk Man Looks at the Thistle was heard on Radio 3 on Hogmanay. What better moment than the gateway of the New Year for Sweeney's musical gallimaufry, which in its rich diversity and mixture of song and speech, not to mention musical styles, is a faithful tribute to the poem it sets? In a sense, Sweeney's setting repays a very old debt. For it was the voice of Hugh MacDiarmid, lecturing in East London in 1974, that ‘put things together’ in the mind of a 24-year-old ex-avantgarde composer-clarinettist not quite sure what direction he wanted to follow. MacDiarmid's London lecture suddenly brought back to Sweeney an essential but hitherto unrecognized element in his own psyche: the revived folksong-movement of his leftwing Glaswegian childhood, spear-headed by the late Norman Buchan M.P. At Knightswood Secondary School, Sweeney had become fascinated first by contemporary jazz – Davis, Coltrane, Evans – and then Stockhausen (‘via Schoenberg’), and his principal study had been clarinet, continued at the RSAMD, and – from 1970 – at the RAM in London with the redoubtable Alan Hacker. Yet as a child, Sweeney had particularly loved the unaccompanied singing of Archie Fisher's sister Rae, and significantly, he ‘always felt disappointed when the guitars came in and spoiled it’.
On the automorphism groups of multidimensional shifts of finite type
Authors: HOCHMAN MICHAEL
Published: November 2009

We investigate algebraic properties of the automorphism group of multidimensional shifts of finite type (SFTs). We show that positive entropy implies that the automorphism group contains every finite group and, together with transitivity, implies that the center of the automorphism group is trivial (i.e. consists only of the shift action). We also show that positive entropy and dense minimal points (in particular, dense periodic points) imply that the automorphism group of X contains a copy of the automorphism group of the one-dimensional full shift, and hence contains non-trivial elements of infinite order. On the other hand we construct a mixing, positive-entropy SFT whose automorphism group is, modulo the shift action, a union of finite groups.
On t-entropy and variational principle for the spectral radius of weighted shift operators
Authors: BAKHTIN V. I.
Published: November 2009

In this paper we introduce a new functional invariant of discrete time dynamical systems—the so-called t-entropy. The main result is that this t-entropy is the Legendre dual functional to the logarithm of the spectral radius of the weighted shift operator on L1(X,m) generated by the dynamical system. This result is called the variational principle and is similar to the classical variational principle for the topological pressure.
Infinite sequence of fixed-point free pseudo-Anosov homeomorphisms
Authors: LOS JÉRÔME
Published: November 2009

We construct an infinite sequence of pseudo-Anosov homeomorphisms without fixed points and leaving invariant a sequence of orientable measured foliations on the same topological surface and the same stratum of the space of Abelian differentials. The existence of such a sequence shows that all pseudo-Anosov homeomorphisms fixing orientable measured foliations cannot be obtained by the Rauzy–Veech induction strategy.
Like my father before me: intergenerational occupational status transfer during industrialization (Zeeland, 1811–1915)
Authors: ZIJDEMAN RICHARD L.
Published: November 2009

This article studies the influence of macro-level developments on intergenerational status transfer in the Dutch province of Zeeland between 1811 and 1915. Hypotheses on the effects of industrialization, educational expansion, mass communication, urbanization, geographical mobility, and mass transport are derived from conflicting theories. The influences of these contextual characteristics on status attainment are tested using hierarchical linear models, incorporating data on some 40,000 fathers and sons in over 100 municipalities. The results show regional as well as temporal differences in the association between a father's and a son's occupational status. In contrast to what is supposed by the logic of industrialism thesis, hardly any of the macro-level developments decreased the influence of a father's occupational status on that of his son. On the contrary, a father's status became more influential in the more industrialized areas.
Social mobility in Portugal (1860–1960): operative issues and trends
Authors: FONSECA HÉLDER ADEGAR , GUIMARÃES PAULO EDUARDO
Published: November 2009

This article presents the results of a study of social mobility in Portugal from the 1860s to the 1960s. Four distinct social contexts were examined by reference to selected criteria, and marriage records were used as the source for data collection and analysis. The HISCO coding scheme was followed to allow comparisons of intergenerational mobility, stratification, and social change. We present the methodological and operative issues inherent in the hermeneutics of the sources used, identifying difficulties in the process of coding arising from the use of a common language to locate individuals in society. We shall offer an opinion on the pace of Portuguese social mobility during the period.
Presidential Address: State of the Institute
Authors: Grocott D. F. H.
Published: November 2009

In this Golden Jubilee year of the Institute it is befitting that the theme of my Presidential Address should be ‘The State of the Institute’. Since the formation of the Institute in 1947, Council has continually addressed this theme, recognizing the need throughout the years to maintain a twin-track approach. One track has been to address navigation issues, relying heavily for solutions on the expertise of members, and the other track has been to adopt measures which secure the future for the Institute. The first track has presented little problem, for within the Institute there are many experts, ranging from the practitioners of the art of navigation to the practitioners of the science and understanding of navigation and its associated disciplines. It is the second track, concerned with the future of the Institute, that requires Officers and Council to steer a sensible safe course around ominous thunder clouds that develop as rapidly as those in the Intertropical Convergence Zone.
Jean Rotz and the Marine Chart, 1542
Authors: Taylor E. G. R.
Published: November 2009

This paper was first published in the Journal in 1954 (Vol. 7, p. 138). It is followed by comments from Michael Richey.

At the time (1542) when Jean Rotz presented Henry VIII with a variation compass, and an accompanying treatise on its making and use, the question of magnetic variation was an acute one. It formed part of a wider controversy concerning the general validity of the sea-chart which had been raised among seamen. As to this, Dr Pedro Nunez, writing a treatise in 1537 addressed to his friend and pupil the Infante Dom Luys of Portugal, said that there were skilled pilots who derided the chart and declared it to be ‘a mais falsa causa do mundo’ – the falsest thing in the world. Hastening to its defence, Nunez dealt at length with the navigating errors introduced by ignoring the convergence of the meridians, and showed besides that a rhumb, or line of constant bearing was a spiral curve on the globe.
The Requirement for Oceanic Navigation in the Air
Authors: Croxford R.
Published: November 2009

If an operational requirement for an oceanic application of global civil satellite navigational systems is to emerge it is almost certain to appear first in the North Atlantic airspace. Other areas of application, their time-scales or relative time-scales and their possible accuracy requirements are more difficult to anticipate. Perhaps the Central East Pacific routes or the North Pacific routes could be next in line for justification of an operational requirement in the foreseeable future. For this reason the remainder of this paper draws entirely upon the North Atlantic, but the potential application in other areas cannot be overlooked. The views expressed are those of the author and do not necessarily reflect the views of the Civil Aviation Authority.
Global Civil Satellite Navigation Systems an Airline Operator's View
Authors: Moore P. , Page D. M.
Published: November 2009

Recent years have seen a number of proposals for the use of satellites by aviation, either for navigation or for air/ground communications and the question is often asked why commercial aviation, one of the most technologically advanced industries in the world, is so reluctant to utilize satellite techniques. So far, these proposals have not succeeded because they failed to satisfy a genuine operational requirement and were not, by any standard, cost effective. Up to the present time the systems which have evolved over the years have performed the required tasks reasonably adequately and would appear, given the normal process of development, to be able to continue to do so for some years to come.
Granas, a New Satellite-based Navigation System
Authors: Euler H. , Hoefgen G.
Published: November 2009

Granas (Global RAdio NAvigation System) is a satellite-based radio navigation system with global coverage, high accuracy and continuous availability for civil users on land, sea and air. Its performance, thus, is superior to existing ground-based radio navigation systems as Omega, Loran, Decca, and so on.

The principle of Granas user-position determination is similar to that of Navstar GPS or Navsat in that a user makes pseudo-range measurements to a number of satellites visible above a 5° elevation angle. These ranging operations are performed using time-of-arrival (TOA) measurements of navigation signals transmitted by satellites. Knowing the discrete positions of four or more satellites and their pseudo-ranges, a user may compute its own clock bias and its position in three dimensions (longitude, latitude and altitude).
Sailing Problems Within and Near Traffic Separation Schemes
Authors: Kwik K. H.
Published: November 2009

Traffic separation schemes have been established all over the world with the aim of reducing the danger of collision. Field observations have shown that despite the adoption by IMO and the laying down of the schemes on nautical charts a good many vessels do not comply with the steering and sailing rules applicable at traffic separation schemes. This paper attempts to review the apparent difficulties met. Some suggestions for improving of the situation are made.

The separation of traffic into two streams moving in opposite directions has been introduced with the aim of reducing the incidence of collisions. Such a measure results in a decrease of the rate of encounters and an almost total elimination of head-on or fine crossing meetings which are considered dangerous especially in restricted visibility. Investigations have confirmed the effectiveness of the measure in achieving the purpose provided that the steps taken are reasonable from a practical point of view.
Hydrographic Survey in the North Sea and English Channel
Authors: Haslam D. W. , Pielou F. A.
Published: November 2009

Ever since man first ventured to sea, he has needed to know not only where he was in relation to the land but also what dangers lay hidden below the surface, and what courses to steer in order to avoid these unseen dangers so as to arrive safely and speedily at his destination – making due allowances for the effects of tidal streams and currents.

Because his sea-maps were working documents, usually exposed to a hostile environment, fewer such old records have survived than is the case with old land maps. Undoubtedly, whilst many early voyages of exploration emanated from Europe, it should not be forgotten that in the – to European eyes – ‘unexplored’ parts of Asia and the Pacific, similar voyages were being made. However, as trade developed between Europe and the rest of the world, hydrographic surveyors from Europe began to record the information needed along the various trade routes.
A Comparison of Safety Records
Authors: Cockcroft A. N.
Published: November 2009

The total loss statistics for 1979, published in the Casualty Returns of Lloyd's Register of Shipping, provide further evidence of the increasing disparity between the safety records of vessels operating under different flags. Statistics of total losses are likely to be almost completely accurate, especially for ships of over 1000 tons gross, and can be used as the most reliable indication of trends in serious marine casualties. This review of recent total losses will be restricted to trading ships of over 1000 g.r.t.