bluuebunny/crossref_metadata_2025 huggingface dataset:
Experimental Methods in Tonality Induction Research: A Review
Authors: Auhagen Wolfgang , Vos Piet G.
Published: September 2012

A critical and comparative review of the various methods currently used in experimental studies of tonality induction is presented. First, we deal with pitfalls in the selection of subjects, specifically focusing on the issue of contrasting more-experienced and less-experienced listeners. Next, we discuss some dilemmas with respect to the selection of stimuli. In particular, we compare the (dis) advantages of using real music stimuli with the (dis) advantages of artificial stimuli, distinguishing in the latter category between prototypical stimuli (e.g., chords or scale fragments) and tonally complex or even polytonal stimuli. Finally, we consider the (dis) advantages of various possible experimental paradigms, notably the production of a tonic and tonal center, the probe-tone paradigm, and tonality rating. For each of the three methodological subdomains, we propose recommendations for improvement.
Localized Key Finding: Algorithms and Applications
Authors: Shmulevich Ilya , Yli-Harja Olli
Published: September 2012

We consider the problem of determining a localized tonal context in a musical composition. Our method is based in part on a key-finding algorithm developed by Krumhansl and Schmuckler (Krumhansl, 1990) and is applied in a sliding-window fashion, producing a sequence of key assignments. These assignments constitute so-called class data in that they possess no natural numerical properties and can be considered as arising from a classification process. A new approach for smoothing such class data using graph theoretic norm estimates is applied to the sequence of key assignments. The effectiveness of the proposed method is evaluated by comparing it with judgments made by experts. Then, the problem is placed in the context of machine recognition of music patterns. We discuss a music pattern recognition system proposed by Coyle and Shmulevich (1998) that relies on robust determination of localized tonal context. This, in turn, allows the system to incorporate perceptual error criteria.
Questioning a Melodic Archetype: Do Listeners Use Gap-Fill to Classify Melodies?
Authors: von Hippel Paul
Published: September 2012

Leonard B. Meyer (1973) argued that listeners' experience of melodies is shaped by certain melodic "archetypes." Among these archetypes is "gapfill," a name for melodies in which an early skip is followed by some of the pitches that have been skipped over. In experiments conducted with Rosner, Meyer tested gap-fill's effect on the ways in which listeners compare and classify melodies (B. S. Rosner & L. B. Meyer, 1982, 1986). The present reanalyses of Rosner and Meyer's experimental results, however, suggest that gap-fill played little or no role. Together with an earlier study suggesting that gap-fill has no influence on melodic shape (P. von Hippel & D. Huron, 2000), these reanalyses tend to weaken the claim that gap-fill is an important concept for classifying melodies.
Decoding the Expressive Intentions in Children's Songs
Authors: Adachi Mayumi , Trehub Sandra E.
Published: September 2012

Adults and children were exposed to separate visual and auditory cues from paired renditions of familiar songs by young, untrained singers who attempted to express happiness and sadness. Same-age children and adults decoded the expressive intentions of 8-to 10-year-old singers with comparable accuracy (Experiment 1). For performances by 6-to 7-year-old singers, same-age children were less accurate decoders than were adults (Experiment 2). The younger performers also provided poorer cues to the intended emotion than did the older performers. Moreover, 6-to 7-year-olds were less accurate than 8-to 10-year-olds at decoding the performances of 8-to 10-year-old singers (Experiment 3). The findings indicate that, although young children successfully produce and interpret happy and sad versions of familiar songs, 6-to 7-year-old children are less proficient than are 8-to 10-year-old children and adults. /// 音楽的訓練を受けていない普通の歌唱力をもった児童によって、「楽しい」 あるいは 「悲しい」 気分になるように歌い分けされた周知の歌を、成人お よび同年齢児童に 「視覚情報のみ」と 「穂覚情報のみ」 の二条件で提示した。 歌唱者が 8-10 才児の場合、歌唱者の意図した情動は、成人、同年齢児童と もに解説できた (実験1)。 歌唱者が 6-7 才児の場合、同年齢児童は成人 ほど歌唱者の意図した情動を解説することができなかった (実験2)。 また、 実験 1 と実験 2 における成人の解説率を比較したところ、6-7 才児の情動 表現は 8ー10 才児の表現よりも解説しにくいことが明らかになった。 さらに、 8-10 才児の歌唱表現を6-7才児が解説できるか調べたところ、6-7 才児は 8-10 才児ほどには解説できないことが分かつた (実験 3)。 これら の結果から、6-7 才児は、歌唱者として周知の歎を 「楽しい」 あるいは 「悲しい」 気分になるように歌い分けたり、視聴者としてそれらの対照的情 動表現を解説することはできるが、8-10 才児や成人ほどの解説能力は持 たないことが明らかになった。
The Development of Affective Responses to Modality and Melodic Contour
Authors: Gerardi Gina M. , Gerken Louann
Published: September 2012

Although it is well established that melodic contour (ascending vs. descending) and modality (major vs. minor) evoke consistent emotional responses in adult listeners, the mechanisms underlying musical affect are unknown. One possibility is that the mechanisms are based on innate perceptual abilities (e.g., Helmholtz, 1885/1954). Another possibility is that the ability to associate various aspects of music with emotion is learned through exposure to one's musical culture (e.g., Serafine, 1988). The current research examines the affective responses to major and minor ascending and descending melodies by 5-year-olds, 8-yearolds, and college students. Affective responses to modality did not appear until age eight and affective responses to contour appeared only in the college students. These results are consistent with previous developmental perception experiments on contour and modality (Imberty, 1969; Krumhansl & Keil, 1982; Morrongiello & Roes, 1990) and extend the understanding of the relation of perception, cognition, and culture in determining musical affect.
The Effect of Musical Experience on the Conception of Accurate Tuning
Authors: Loosen Franz
Published: September 2012

The present study investigates the relationship between musical experience and subjects' conception of accurate tuning. In a paired comparisons experiment, 7 violinists, 7 pianists, and 10 nonmusicians evaluated the tuning of computer-generated, ascending and descending eight-tone diatonic scales of C major. Subjects were required to indicate which member of the pair was "most accurately tuned." The subjects were unaware that all scales were perfectly tuned in the Pythagorean, just, or equal-tempered intonation, respectively. Results showed that (1) violinists, as a group, preferred Pythagorean to equal-tempered scales more frequently than vice versa (p< .01), (2) pianists preferred equaltempered to Pythagorean scales more frequently than vice versa (p < .01), (3) violinists and pianists judged just intoned scales to be less accurately tuned than either Pythagorean or equal-tempered scales (p < .01), and (4) nonmusicians did not show any preference for any of the three intonation models. These findings confirm the claim that subjects' conception of accurate tuning is determined by musical experience rather than by characteristics of the auditory system. Relevance of the results to assessment of tonal perception is discussed.
Working Memory in Music: A Theoretical Model
Authors: Berz William L.
Published: September 2012

Many psychologists have accepted a dual memory system with separate short-and long-term storage components. More recently, the concept of working memory, where short-term memory is composed of both storage and processing segments, has been considered. Baddeley (1990) proposes a model for working memory that includes a central executive controller along with two slave systems: the phonological loop and the visuospatial sketch pad. The model allows for both storage and manipulation of information. However, this model does not seem to account adequately for musical memory (Clarke, 1993). Through a review of relevant literature, a new model is proposed in which an additional slave system is added to the Baddeley model to account for musical information. Consideration of this kind of cognitive processing is important in understanding the significant demands placed on working memory in such activities as taking music dictation, where there would be a tradeoff between storage and processing functions.
Peasant Politics and the Mexican State: Indigenous Compliance in Highland Chiapas
Authors: Collier George A.
Published: September 2012

Se trata de la política de indígenas Tzotziles y Tzeltales de Chiapas dentro del marco del estado. Alternaciones en la política indigenista y agraria del estado Mexicano influyen al caracter fragmentario y faccional de la vida política de pueblos indígenas, deprimiendo conciencia de clase y subrayando un clientelismo y un caciquismo bastante restringidos en su poder.
Dosso Dossi's Allegory at Florence about Music
Authors: Slim H. Colin
Published: September 2012

An examination of a dozen paintings and several woodcuts by the Ferrarese artist Dosso Dossi (ca. 1490-1542) suggests that he belongs to the select company of other doubly gifted painters of the sixteenth century who were also musicians. The evidence rests on the accuracy of Dosso's depictions of musical instruments, his knowledge of their symbolism, and above all, from his inclusion of two canons, one circular and the other triangular, in a painting (ca. 1524-1534) once at the Este castle in Ferrara, and now in the Museo Horne, Florence. Whereas the composer of the former canon remains unknown, that of the latter is Josquin Desprez. The work is Josquin's celebrated proportional canon from the Agnus Dei of his Mass, L'homme armé super voces musicales. Musical aspects of Dosso's complex allegory reside not only in the relationships of the two canons on the right side of the picture to three hammers belonging to a blacksmith on the left side, but also in the tablets of stone on which the canons are inscribed. A brief notice of the changing relationships between music and painting at this period sets the stage for a more thorough examination of statements by Leonardo da Vinci concerning both arts, statements that help provide a conceptual framework for Dosso's allegory of music.
Symbol and Ritual in Josquin's Missa Di Dadi
Authors: Long Michael
Published: September 2012

The author examines one of Josquin's earliest cantus firmus Masses, the Missa Di dadi, composed on a tenor drawn from Robert Morton's rondeau, N'aray je jamais mieulx que j'ay. Surviving only in Petrucci's third book of Josquin Masses, the work is distinguished by its use of pictures of dice as proportional canons in the Tenor voice. This study demonstrates that the dice images and the original chanson text associated with the cantus firmus melody form a metaphorical ground plan for the composition, and are linked to contemporary liturgical ritual and to fifteenth-century readings of the Mass text. Musical relationships between Di dadi and the later Missa Pange lingua establish the authenticity of the early work, and illuminate the evolution of Josquin's musical personality and style over some thirty to forty years.
La Poppea Impasticciata or, Who Wrote the Music to La Poppea Impasticciata (1643)?
Authors: Curtis Alan
Published: September 2012

This essay re-examines both the complex source-material for L'incoronazione di Poppea and the reasons for attributing the music to Monteverdi. On the basis of stylistic and notational peculiarities it concludes that the role of Ottone was rewritten by a younger composer or composers, who also either altered or completed certain other parts of the opera, including the entire final scene. A study of Francesco Sacrati's La finta pazza leads to the conclusion that he is the most likely composer of these non-Monteverdean parts of Poppea.
On the Nature of Transmission and Change in Trope Repertories
Authors: Planchart Alejandro Enrique
Published: September 2012

Recent reinterpretations of the evidence on the early transmission of Gregorian chant point to a larger role for written sources than had previously been thought. Evidence for the trope repertories-the ordered transmission of entire trope series for a number of feasts over a considerable period of time-points to similar conclusions. Variations in trope series from one region to another point to the existence of general regional traditions. Since tropes did not posses the authority of Gregorian chant itself, they were acclimatized in each region in order to make them conform to local traditions, which seem to have their roots in the chant sung in each locality before the adoption of the Roman liturgy and Gregorian chant. The nature of the acclimatizations, both textual and musical, indicate that the tropes were often received in written form and then changed and manipulated in ways that in themselves suggest dependency upon a written text and music.
The Eighth-Century Frankish-Roman Communion Cycle
Authors: McKinnon James
Published: September 2012

Musical and liturgical historians alike are familiar with the numerical series of weekday communions derived from Psalms 1-26. What is less well known is that the communion texts for the entire temporale reveal similar compositional patterns. The cycle begins with a richly evocative group for Advent and the day of Christmas derived from the Prophets, and continues after Christmas with a series of vignettes drawn from the gospels, providing a history in miniature of Jesus' childhood and early public life. The potential for narrative is not so great for Paschaltide, but there is no less symmetry in the disposition of its communions, virtually all of which are taken from either the gospels or-another innovation-the epistles. Finally the post-Pentecostal season, despite its more irregular history, boasts a concentration of twelve communions unified by the related themes of harvest, sacrifice and eucharist, a poetic gesture recalling the Advent and Christmas day group. The cycle as a whole is replete with internal evidence, suggesting a project of wholesale revision and composition that took place over a period of two or three generations at most. There are broad circumstances, involving liturgy, music and the historical background, that locate the bulk of this activity in the Roman schola cantorum of the later-seventh and earlier-eighth centuries. More precise chronological indications, in turn, place the last stages of the effort, involving the borrowing of responsories and antiphons from the Office, as late as the mid-eighth century. It is clear, in fact, that this was accomplished with the participation of the Franks.
"Illibata Dei Virgo Nutrix" and Josquin's Roman Style
Authors: Sherr Richard
Published: September 2012

Josquin's famous acrostic motet Illibata Dei virgo nutrix has generally been considered an early work on the basis of its musical style. Viewing the work from different perspectives, both analytical and historical, suggests that the work may not have been written as early as presumed, and that Josquin's style might have changed in response to tastes he encountered in the various centers in which he worked. The focus of discussion is Rome, and the musical styles favored by composers of the Papal Chapel in the period in which Josquin was a member of that organization (1486- ca. 1495). It is suggested that Illibata Dei virgo nutrix be viewed as a contribution to a particularly Roman corpus of five-voice Tenor motets and a deliberate attempt to emulate and surpass papal composers in their own style.
The Marriage of Edward III and the Transmission of French Motets to England
Authors: Wathey Andrew
Published: September 2012

This article describes the hitherto unsuspected transmission to England of the two motets in Paris, Bibliothèque Nationale, MS français 571 (also found in Chaillou de Pesstain's interpolated version of the Roman de Fauvel (MS français 146)) as a direct product of the period spent in France by Isabella, Queen of England, 1325-1326, and of the negotiations for the marriage of her son, the future Edward III of England. Isabella's expedition, both before and after the open break with her husband, Edward II, afforded numerous opportunities for the proximity of English and French musicians; new documentation presented here permits the charting in detail of English clerics' contacts with Gervais du Bus, one of the authors of the Roman de Fauvel, and with Philippe de Vitry. A new dating is advanced for MS français 571, compiled for the marriage of Prince Edward and Philippa of Hainault. Edward's proximity to the French royal line (and the residual English claim to the French throne) provided a rationale not only for the English diplomatic handling of the marriage, but also for the inclusion of the motet texts in MS français 571. The motets' topical texts, originally cast with other purposes in mind, are here subordinated to the broader political program of the Anglo-Hainault marriage. Thus, far from being monofunctional, fourteenth-century motets could be re-used in new contexts that made quite different uses of the messages promulgated in their texts: the adaptability of individual motets may, indeed, have been a fundamental cause in their transmission and even in their later survival.
Machaut's Role in the Production of Manuscripts of His Works
Authors: Earp Lawrence
Published: September 2012

The author re-examines the complete-works manuscripts of Machaut and the question of his role in their production, in light of recent art-historical and philological studies. The discussion proceeds in chronological order, and offers new details about each of the extant complete-works manuscripts, as well as about a few of the lost manuscripts. In addition, a new complete-works manuscript at the National Library of Wales is identified. The study charts Machaut's evolving view of manuscript organization, and speculates on the shape of Machaut's exemplar material and its effect on manuscript organization and the transmission of the works. The original index of manuscript A is found to be a document of primary importance that establishes a new departure in the organization of Machaut's manuscripts, prescribing an order to be followed by the scribe as the manuscript itself was copied. Finally, an examination of the transmission of the motet "Qui es promesses/Ha Fortune/Et non est" provides us with a caveat: even a tradition of music as rich as Machaut's could become corrupted at a very early point, working against Machaut's best efforts to insure the accurate transmission of his works.
Opera, Four Hands: Collaborative Alterations in Puccini's Fanciulla
Authors: Dotto Gabriele
Published: September 2012

Opera, with its complex mixture of musical, verbal, and scenic elements, is especially liable to extensive revision during rehearsals for a first performance. Common opinion assumes the composer initiates such adjustments. While this is usually the case, such a preconception can lead us to ignore the weight carried by the suggestions of performers or other colleagues in important musical decisions, and may also encourage overreliance on autograph documents alone as evidence of a composer's final intent. Puccini's La fanciulla del West, for example, reveals numerous differences of detail between the autograph and the final engraved score (the version he sanctioned); yet few of these changes can be traced directly to the composer. A key source in charting these alterations is the score bound from proof pages of the engraved plates, used by Arturo Toscanini during rehearsals for the opera's 1910 premiere. This score carries a large number of Toscanini's handwritten changes, nearly all of which appear in the final version of La fanciulla. The evidence indicates that many of these changes originated with Toscanini. This essay examines the nature of these changes, their probable motivation, and Puccini's working relationship with Toscanini. In conclusion, it touches on some of the broader implications such research may have for the process of textual criticism in opera.
Beethoven's Unfinished Piano Concerto: A Case of Double Vision?
Authors: Cook Nicholas
Published: September 2012

During 1814-15 Beethoven sketched the first movement of a piano concerto, writing out a considerable proportion of it in full score. Some of the curious stylistic features that have been ascribed to this movement are the consequence of a faulty reading of MS Artaria 184, in which open-score sketches have been bound in with the autograph score. One curious feature, however, remains: the symphonic nature of the materials. There is some reason to believe that, because of this, Beethoven considered deleting the tutti exposition, resulting in a symphonic work with obbligato piano. Such indecision at a late stage in the compositional process could explain why Beethoven abandoned the work.
A Revised View of the Thirteenth-Century Latin Double Motet
Authors: Pesce Dolores
Published: September 2012

This paper argues that features of the Continental Latin double motet of the latter half of the thirteenth century which were previously considered "peripheral" are also found in motets linked to the Notre-Dame tradition. Furthermore, the Latin repertory as a whole reveals stylistic diversity, including the use of textures characteristic of French double motets from early through mid-century. This revised view of the repertory as stylistically multi-faceted is supported by a study of manuscript transmission, particularly in the Bamberg and Darmstadt codices.
The Imprisonment of Henry Cowell
Authors: Hicks Michael
Published: September 2012

Thus far, published references to Henry Cowell's imprisonment consistently obscure the facts of his case and overlook virtually all of the essential primary sources, including court documents, correspondence, psychological evaluations, and even Cowell's own writings on the subject. Although Cowell acceded to a charge that he had engaged in homosexual activities with a minor, the charge was distorted by newspapers and both exaggerated and minimized by his friends. The extraordinary prison sentence Cowell received resulted largely from a misleading letter by a juvenile probation officer, written amid a political climate of severe antipathy toward sex offenders. During Cowell's incarceration, several leading psychologists evaluated the composer according to then-prevalent theories of homosexuality. These psychologists, along with several officers of the court, expressed faith in the composer's "rehabilitation" and their recommendations helped secure the composer a parole. Political changes in California and the entry of the United States into World War II paved the way for a pardon, which was granted primarily so that Cowell could work on a government project known as "cultural defense." Despite his impressive accomplishments in prison and the positive resolution of his case, Cowell never fully recovered from the experience. Scholarly repression of the facts ensued and led to fragmented, inaccurate accounts of the prison years. Hence, this part of Cowell's life provides a useful test case on some persistent issues in musical biography.
Gendering Modern Music: Thoughts on the Monteverdi-Artusi Controversy
Authors: Cusick Suzanne G.
Published: September 2012

This essay examines the presence of gender metaphors in the documents of the Monteverdi-Artusi controversy. Such metaphors include literal and figurative representations of sexuality and gender in the theoretical arguments on both sides; representations of gender, sexuality, and power in the oratione asserted to have governed the composition of the two most discussed works, the madrigals "Cruda Amarilli" and "O Mirtillo"; and representations of resistance to patriarchal authority in the armonia of both madrigals. Such examination shows (1) that the focus on these two madrigals by both parties to the controversy irresistibly sexualized "modern music" and feminized its sonorous traits by associating them with images of the sensual and disobedient body rather than the rational and controlling anima; (2) that the Monteverdi brothers' defense of the seconda prattica was a rhetorical effort to legitimate modern music as an alternative patriarchy; and (3) that these gender messages became inextricable from the style they were used to defend, with consequences for both seventeenth-century practitioners and twentieth-century scholars of early "modern music."
Volksconcerte in Vienna and Late Nineteenth-Century Ideology of the Symphony
Authors: Notley Margaret
Published: September 2012

Late nineteenth-century journalistic criticism in Vienna offers many precedents for Paul Bekker's interpretation of the symphony. Beethoven's symphonies provided the model for an aesthetics of the genre-couched in metaphors connecting it to "the people"-that motivated the reception of works by Brahms and Bruckner. Activists who wished to inaugurate symphonic Volksconcerte in the city took the figurative utopian function of the genre literally. Though their efforts were confounded not only by institutionalized elitism but also by the preferences of the Viennese Volk for other kinds of music, their work bore fruit in the early twentieth century with the founding of the Wiener Konzertverein and the Arbeiter-Symphonie-Konzerte.
A Musical Time Capsule from Java
Authors: Brinner Benjamin
Published: September 2012

Transcriptions of Central Javanese gamelan melodies published in England in the early nineteenth century by Sir Thomas Stamford Raffles and John Crawfurd are recognizably similar to compositions performed today and offer an opportunity to gauge change in an oral tradition. Comparison with modern concordances shows considerable stability in modal practice and the idiom of the rebab, provides evidence of changes in specific pieces, raises questions regarding regional variants and the significance of melodic register, and supports the viability of early repertory lists from other sources as a basis for historical research.
Alban Berg and Peter Altenberg: Intimate Art and the Aesthetics of Life
Authors: Schroeder David P.
Published: September 2012

The importance of literature to Berg in the creation of his artistic world has generally been underestimated. Peter Altenberg was especially influential on the young Berg through their friendship, Berg's reading of Altenberg's works, and the relationship of Berg's future wife with both men. Not only is a full understanding of the Altenberg Picture Postcard Texts crucial to the interpretation of Berg's Altenberg Lieder, but Altenberg's peculiar approaches to literary autobiography and vision of the role of women provided a model for Berg for this and subsequent works. Berg extracted five short texts from Altenberg's full texts and rearranged them in a way that had special aesthetic and personal significance for himself. Important aspects of Berg's musical setting relate directly to his treatment of the texts.
Alchemy and Counterpoint in an Age of Reason
Authors: Yearsley David
Published: September 2012

This essay demonstrates the importance of alchemy to the theory and practice of learned counterpoint as articulated in the writings of a group of early eighteenth-century German musicians, in particular, those of canon enthusiast and alchemist Heinrich Bokemeyer (1679-1751). While leading eighteenth-century theorists such as Johann Mattheson argued vigorously against the persistence of occult beliefs in music, the correspondence of J. G. Walther with Bokemeyer reveals a lively discourse on the principles of Hermeticism in conjunction with the exchange of counterpoint manuscripts, one of the most important of which was Johann Theile's Musicalisches Kunstbuch. The title and contents of this collection, as well as the pictorial and contrapuntal features of another of Theile's creations, the Harmonischer Baum, suggest further links with alchemy. In 1723-24, Bokemeyer became engaged in a dispute with Mattheson over the merits of canon; this debate was published as "Die canonische Anatomie" in Mattheson's periodical Critica musica. Bokemeyer's lengthy defense of learned counterpoint draws heavily on alchemical metaphors and Hermetic concepts. Bokemeyer would later become a member, along with J. S. Bach, of Lorenz Mizler's Societät der Musicalischen Wissenschaften. Bokemeyer may have seen in Bach's Canonic Variations (BWV 769), presented to the society on Bach's admission in 1747, a reflection of the aesthetic principles articulated in "Die canonische Anatomie." While learned counterpoint's role in composition and pedagogy diminished in the years following the publication of "Die canonische Anatomie," midcentury theorists such as F. W. Marpurg continued to explore the complex workings of canon, but they did so as enlightened encyclopedists holding none of the occult views that had informed the musical belief system of Bokemeyer and the counterpoint devotees of the previous generation.
Petrucci's "Justiniane" Revisited
Authors: Haar James
Published: September 2012

In Petrucci's sixth frottola book (1505) is a group of four pieces of unusual cast. They are scored for three voices (nearly all of Petrucci's frottole are four-voice compositions), their texts are not in any of the usual frottola forms, and their language is archaic. Two of them have been attributed to Leonardo Giustiniani (ca. 1383-1446). Their music, at once rough and highly melismatic, differs sharply from frottolistic norms. These pieces present an interpretive challenge: are they faithful representatives of the aria veneziana or giustiniana of the first half of the fifteenth century, midcentury versions of this genre, or late survivors of an old tradition? In this article it is argued that they are something of all of these, and yet something else: self-conscious representations (loaded with deliberate archaisms) of a tradition once known through much of the Italian peninsula and especially loved in Venice, home to Petrucci's activity as collector and publisher of music.
C. P. E. Bach's Organ Sonatas: A Musical Offering for Princess Amalia?
Authors: Berg Darrell M.
Published: September 2012

This article presents a history of the prelude and six sonatas, Wq 70/1-7, that Carl Philipp Emanuel Bach reputedly wrote for Princess Anna Amalia of Prussia. As a musical patron of mid-eighteenth-century Berlin, the princess was second only to her brother, Frederick the Great. Her library of musicalia (the Amalien-Bibliothek), celebrated in her lifetime, is still of paramount importance to scholars. The present study offers solutions to two mysteries surrounding the works of Wq 70: the absence of all but one from the Amalien-Bibliothek and the conflict of late eighteenth-century accounts of Bach's solo organ works with the canon established in the catalogues of Alfred Wotquenne and Eugene Helm. It considers the role that the princess's conservative musical taste probably played in the acquisition of scores for her collection. It investigates the reception of the works of Wq 70, not only by Bach's royal patroness, but by publishers and a large clientele of keyboardists of his time, and considers the circulation of these compositions in versions for stringed keyboard instruments-far more fashionable in the second half of the eighteenth century than the organ.
For Those We Love: Hindemith, Whitman, and "An American Requiem"
Authors: Kowalke Kim H.
Published: September 2012

Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of commemoration, "For those we love within the veil." Hindemith quotes verbatim the melody for this hymn from the 1940 Episcopal Hymnal, which identifies it as "Gaza," a "Traditional Jewish Melody" (in turn derived from a Yigdal). The Requiem may be reinterpreted as a covert commentary on Whitman's text from the post-Holocaust perspective of Hindemith's conflicted personal and artistic circumstances.
Marcel Breuer and the Franklin Delano Roosevelt Memorial
Authors: Hyman Isabelle
Published: September 2012

By examining transcripts of the unpublished minutes of meetings held in January 1967 by the Commission of Fine Arts in Washington, D. C., the author accounts for the government's rejection of Marcel Breuer's design for a Franklin Delano Roosevelt memorial, one of several rejected proposals for a monument still awaiting completion half a century after the death of the president.
Coexisting Depression and Anxiety: Classification and Treatment
Authors: Kulhan T. , Ondrejka I. , Ordaz J. , Snircova E. , Nosalova G.
Published: September 2012

Coexisting Depression and Anxiety: Classification and Treatment

Despite of the fact, that comorbidity of depression and anxiety is a frequent condition in clinical practice, current psychiatric classification systems (according to WHO-ICD 10 and according to APA-DSM IV-TR) are not taking this reality into account sufficiently. The concept of anxious depression is very important for clinical practice. Recommended guidelines and algorithms of treatment based on evidence based medicine (EBM), established mainly on randomized controlled trials are designed separately for depression and separately for anxious disorders. This presents very often a significant complication in clinical practice. The aim of this article was to bring the concept of anxious depression to closer attention with highlighting of possible therapeutic approaches.
Syntheses, Crystal Structures, and Thermal Behaviour of Two Solvent-Regulated Nickel(II) Coordination Polymers with Tetraiodoterephthalate
Authors: Qin Jing , Chen Sheng-Chun , Zhang Zhi-Hui , Sun Fu-An , Zhou Wei-You , He Ming-Yang , Chen Qun
Published: September 2012

Reaction of the rigid ligand 2,3,5,6-tetraiodo-1,4-benzenedicarboxylic acid (H2BDC–I4) with NiII chloride in different solvents affords two coordination polymers {[Ni(BDC–I4)(MeOH)4](H2BDC–I4)(MeOH)2}n and {[Ni(BDC–I4)(DMF)2(H2O)2] (DMF)2(H2O)}n. Both complexes have one-dimensional, linear coordination networks extended by the exo-bidentate bridging ligands, and also have supramolecular architectures through secondary hydrogen-bonding interactions. Their spectroscopic and thermal properties have also been investigated.
Synthesis of 1,2,4-triazepine and 1,2,5-triazocine derivatives from the reaction of 2-aminobenzohydrazide with π-acceptors
Authors: El-Shaieb Kamal M. , Ameen Mohamed A. , Abdel-Latif Fathy F. , Mohamed Asmaa H.
Published: September 2012

The formation of metal complexes with acid hydrazides plays an important role in the growth of their biological activity. A simple synthetic strategy is described for the synthesis of novel 1,2,4-tri-azepine and 1,2,5-triazocine derivatives via electron donor–acceptor interaction. Thus when 2-aminobenzohydrazide reacted with tetracyanoethylene (TCNE) and 2-dicyanomethylene-indan-1,3-dione (CNIND) afforded 1,2,4-triazepine derivatives. While on reacting 1 with 2,3-dicyano-5,6-dichloro-1,4-benzoquinone (DDQ), 2,3-dichloro-1,4-naphthoquinone (DCHNQ), 1,4-naphthoquinone and/or 2,3,5,6-tetrabromo-1,4-benzoquinone, 1,2,5-triazocine derivatives were formed.
A Mild and Practical Synthesis of Biphenyl Compounds
Authors: Liang Shuang , Cao Xiaohui , Yan Xilong , Chen Ligong
Published: September 2012

A mild and practical synthetic route for biphenyls is established. Isopropyl nitrite was prepared from sodium nitrite, isopropanol and hydrochloric acid. The biphenyl compounds were obtained from the diazotisation of aniline derivatives with the generated isopropyl nitrite and the coupling reaction with benzene derivatives in the presence of CuCl as a catalyst in good yields.
TE-Locate: A Tool to Locate and Group Transposable Element Occurrences Using Paired-End Next-Generation Sequencing Data
Authors: Platzer Alexander , Nizhynska Viktoria , Long Quan
Published: September 2012

Transposable elements (TEs) are common mobile DNA elements present in nearly all genomes. Since the movement of TEs within a genome can sometimes have phenotypic consequences, an accurate report of TE actions is desirable. To this end, we developed TE-Locate, a computational tool that uses paired-end reads to identify the novel locations of known TEs. TE-Locate can utilize either a database of TE sequences, or annotated TEs within the reference sequence of interest. This makes TE-Locate useful in the search for any mobile sequence, including retrotransposed gene copies. One major concern is to act on the correct hierarchy level, thereby avoiding an incorrect calling of a single insertion as multiple events of TEs with high sequence similarity. We used the (super)family level, but TE-Locate can also use any other level, right down to the individual transposable element. As an example of analysis with TE-Locate, we used the Swedish population in the 1,001 Arabidopsis genomes project, and presented the biological insights gained from the novel TEs, inducing the association between different TE superfamilies. The program is freely available, and the URL is provided in the end of the paper.
An Imprinted Cross-Linked Enzyme Aggregate (iCLEA) of Sucrose Phosphorylase: Combining Improved Stability with Altered Specificity
Authors: De Winter Karel , Soetaert Wim , Desmet Tom
Published: September 2012

The industrial use of sucrose phosphorylase (SP), an interesting biocatalyst for the selective transfer of α-glucosyl residues to various acceptor molecules, has been hampered by a lack of long-term stability and low activity towards alternative substrates. We have recently shown that the stability of the SP from Bifidobacterium adolescentis can be significantly improved by the formation of a cross-linked enzyme aggregate (CLEA). In this work, it is shown that the transglucosylation activity of such a CLEA can also be improved by molecular imprinting with a suitable substrate. To obtain proof of concept, SP was imprinted with α-glucosyl glycerol and subsequently cross-linked with glutaraldehyde. As a consequence, the enzyme’s specific activity towards glycerol as acceptor substrate was increased two-fold while simultaneously providing an exceptional stability at 60 °C. This procedure can be performed in an aqueous environment and gives rise to a new enzyme formulation called iCLEA.
Optimization of Ligninolytic Enzyme Activity and Production Rate with Ceriporiopsis subvermispora for Application in Bioremediation by Varying Submerged Media Composition and Growth Immobilization Support
Authors: Babič Janja , Likozar Blaž , Pavko Aleksander
Published: September 2012

Response surface methodology (central composite design of experiments) was employed to simultaneously optimize enzyme production and productivities of two ligninolytic enzymes produced by Ceriporiopsis subvermispora. Concentrations of glucose, ammonium tartrate and Polysorbate 80 were varied to establish the optimal composition of liquid media (OLM), where the highest experimentally obtained activities and productivities were 41 U L−1 and 16 U L−1 day−1 for laccase (Lac), and 193 U L−1 and 80 U L−1 day−1 for manganese peroxidase (MnP). Considering culture growth in OLM on various types of immobilization support, the best results were obtained with 1 cm beech wood cubes (BWCM). Enzyme activities in culture filtrate were 152 U L−1 for Lac and 58 U L−1 for MnP, since the chemical composition of this immobilization material induced higher Lac activity. Lower enzyme activities were obtained with polyurethane foam. Culture filtrates of OLM and BWCM were applied for dye decolorization. Remazol Brilliant Blue R (RBBR) was decolorized faster and more efficiently than Copper(II)phthalocyanine (CuP) with BWCM (80% and 60%), since Lac played a crucial role. Decolorization of CuP was initially faster than that of RBBR, due to higher MnP activities in OLM. The extent of decolorization after 14 h was 60% for both dyes.
Molecular Cloning and Functional Analysis of Three FLOWERING LOCUS T (FT) Homologous Genes from Chinese Cymbidium
Authors: Huang Weiting , Fang Zhongming , Zeng Songjun , Zhang Jianxia , Wu Kunlin , Chen Zhilin , Teixeira da Silva Jaime A. , Duan Jun
Published: September 2012

The FLOWERING LOCUS T (FT) gene plays crucial roles in regulating the transition from the vegetative to reproductive phase. To understand the molecular mechanism of reproduction, three homologous FT genes were isolated and characterized from Cymbidium sinense “Qi Jian Bai Mo”, Cymbidium goeringii and Cymbidium ensifolium “Jin Si Ma Wei”. The three genes contained 618-bp nucleotides with a 531-bp open reading frame (ORF) of encoding 176 amino acids (AAs). Alignment of the AA sequences revealed that CsFT, CgFT and CeFT contain a conserved domain, which is characteristic of the PEBP-RKIP superfamily, and which share high identity with FT of other plants in GenBank: 94% with OnFT from Oncidium Gower Ramsey, 79% with Hd3a from Oryza sativa, and 74% with FT from Arabidopsis thaliana. qRT-PCR analysis showed a diurnal expression pattern of CsFT, CgFT and CeFT following both long day (LD, 16-h light/8-h dark) and short day (SD, 8-h light/16-h dark) treatment. While the transcripts of both CsFT and CeFT under LD were significantly higher than under SD, those of CgFT were higher under SD. Ectopic expression of CgFT in transgenic Arabidopsis plants resulted in early flowering compared to wild-type plants and signiﬁcant up-regulation of APETALA1 (AP1) expression. Our data indicates that CgFT is a putative phosphatidylethanolamine-binding protein gene in Cymbidium that may regulate the vegetative to reproductive transition in ﬂowers, similar to its Arabidopsis ortholog.
Body-Related Social Comparison and Disordered Eating among Adolescent Females with an Eating Disorder, Depressive Disorder, and Healthy Controls
Authors: Hamel Andrea E. , Zaitsoff Shannon L. , Taylor Andrew , Menna Rosanne , Grange Daniel Le
Published: September 2012

The purpose of this study was to investigate the association between body-related social comparison (BRSC) and eating disorders (EDs) by: (a) comparing the degree of BRSC in adolescents with an ED, depressive disorder (DD), and no psychiatric history; and (b) investigating whether BRSC is associated with ED symptoms after controlling for symptoms of depression and self-esteem. Participants were 75 girls, aged 12–18 (25 per diagnostic group). To assess BRSC, participants reported on a 5-point Likert scale how often they compare their body to others’. Participants also completed a diagnostic interview, Eating Disorders Inventory-2 (EDI-2), Beck Depression Inventory-II (BDI-II), and Rosenberg Self-Esteem Scale (RSE). Compared to adolescents with a DD and healthy adolescents, adolescents with an ED engaged in significantly more BRSC (p ≤ 0.001). Collapsing across groups, BRSC was significantly positively correlated with ED symptoms (p ≤ 0.01), and these associations remained even after controlling for two robust predictors of both ED symptoms and social comparison, namely BDI-II and RSE. In conclusion, BRSC seems to be strongly related to EDs. Treatment for adolescents with an ED may focus on reducing BRSC.
Influence of the Efavirenz Micronization on Tableting and Dissolution
Authors: Pinto Eduardo Costa , Carmo Flávia Almada do , Honório Thiago da Silva , Barros Rita de Cássia da Silva Ascenção , Castro Helena Carla Rangel , Rodrigues Carlos Rangel , Esteves Valéria Sant'Anna Dantas , Rocha Helvécio Vinícius Antunes , Sousa Valeria Pereira de , Cabral Lucio Mendes
Published: September 2012

The purpose of this study was to propose an analytical procedure that provides the effects of particle size and surface area on dissolution of efavirenz. Five different batches obtained by different micronization processes and with different particle size distribution and surface area were studied. The preformulation studies and dissolution curves were used to confirm the particle size distribution effect on drug solubility. No polymorphic variety or amorphization was observed in the tested batches and the particle size distribution was determined as directly responsible for the improvement of drug dissolution. The influence of the preparation process on the tablets derived from efavirenz was observed in the final dissolution result in which agglomeration, usually seen in non-lipophilic micronized material, was avoided through the use of an appropriate wet granulation method. For these reasons, micronization may represent one viable alternative for the formulation of brick dust drugs.
Correction: Darwish, A. and Hassanien, A.E. Wearable and Implantable Wireless Sensor Network Solutions for Healthcare Monitoring. Sensors 2011, 11, 5561-5595
Authors: Darwish Ashraf , Hassanien Aboul Ella
Published: September 2012

A reference is missing in our paper [1]. Figure 2 was adapted from Reference [2] with permission. The figure is listed and described as below: [...]
The Place of Disgust: Disability, Class and Gender in Spaces of Workfare
Authors: Soldatic Karen , Meekosha Helen
Published: September 2012

This paper explores the role of disgust in mediating disabled women's experience of workfare in the Australian state. As global social policy has been restructured along neoliberal lines in Western nations, the notion of ‘workfare’ has been widely promulgated. This paper draws on nine case studies from across Australia to explore how this has resulted in disabled women being coerced to participate in a range of workfare programs that are highly bureaucratised, sanitised and moralised. The findings suggest that with the advent of Australian neoliberal welfare reform, some disabled women are increasingly framed in negative affective terms. A primary emotion that appears to govern disabled women forced to participate in Australian neoliberal workfare programs is disgust. The experience of the participants interviewed for this study suggests that the naming of them in negative emotional terms requires disabled women to perform a respectable unruly corporeality to ensure that they gain and maintain access to a range of services and supports, which are vital to their wellbeing.
Comparative Immunohistochemical Analysis of Ochratoxin A Tumourigenesis in Rats and Urinary Tract Carcinoma in Humans; Mechanistic Significance of p-S6 Ribosomal Protein Expression
Authors: Gazinska Patrycja , Herman Diana , Gillett Cheryl , Pinder Sarah , Mantle Peter
Published: September 2012

Ochratoxin A (OTA) is considered to be a possible human urinary tract carcinogen, based largely on a rat model, but no molecular genetic changes in the rat carcinomas have yet been defined. The phosphorylated-S6 ribosomal protein is a marker indicating activity of the mammalian target of rapamycin, which is a serine/threonine kinase with a key role in protein biosynthesis, cell proliferation, transcription, cellular metabolism and apoptosis, while being functionally deregulated in cancer. To assess p-S6 expression we performed immunohistochemistry on formalin-fixed and paraffin-embedded tumours and normal tissues. Marked intensity of p-S6 expression was observed in highly proliferative regions of rat renal carcinomas and a rare angiosarcoma, all of which were attributed to prolonged exposure to dietary OTA. Only very small OTA-generated renal adenomas were negative for p-S6. Examples of rat subcutaneous fibrosarcoma and testicular seminoma, as well as of normal renal tissue, showed no or very weak positive staining. In contrast to the animal model, human renal cell carcinoma, upper urinary tract transitional cell carcinoma from cases of Balkan endemic nephropathy, and a human angiosarcoma were negative for p-S6. The combined findings are reminiscent of constitutive changes in the rat tuberous sclerosis gene complex in the Eker strain correlated with renal neoplasms, Therefore rat renal carcinogenesis caused by OTA does not obviously mimic human urinary tract tumourigenesis.