bluuebunny/crossref_metadata_2025 huggingface dataset:
The Originality of Monteverde
Authors: Westrup J. A.
Published: January 2007

If I desired a precedent for a paper on Monteverde, I could not do better than look back to that read in 1916 by Sir Hubert Parry, then President of the Musical Association, on The Significance of Monteverde. And if I were looking out for a suitable way of introducing the subject I could not do better than quote his introduction. He said:—

“Everyone who has any idea at all of what the name of Monteverde represents must see that a proposal to discuss him fully in a single paper, even of abnormal length, would be absurd.”
The Music of the Pentateuch
Authors: Rosowsky Solomon
Published: January 2007

The Bible is not only a monument of religious thought, not only poetical creation, but also a great musical heritage. In common with many other sacred books of the ancient races, it is chanted in a specific recitative, usually termed “cantillation.”
The Seventeenth Earl of Oxford as Musician, Poet, and Controller of the Queen's Revels
Authors: Eggar Katharine E.
Published: January 2007

Experience has taught me to expect that the subject of my paper will be little, if anything, more than a name to my audience.

I have to introduce to you a very remarkable person, about whom there still hangs much mystery. We are told by his contemporaries that he was the best among them all for comedy, and that he was a poet of the highest order; yet not a single comedy bearing his name has come down to us; and of his poems, we have but a handful of short verses. I am going to trace to-day only a few threads in the elaborate tapestry of his life and times—his connection with the Court Revels—trusting to your familiarity with his period to supply the general background and atmosphere: and, to bring him to life as a person, I will first briefly sketch his story.
Italian Madrigal Verse
Authors: Einstein Alfred
Published: January 2007

Early, thirteenth-fourteenth century; middle, fourteenth-sixteenth century; late, fifteenth and sixteenth century.

Early. Dante died 1321, twenty years before Chaucer was born, wrote his Divina Commedia in Capitoli, stanzas of three lines of which the first and third rhyme, and the last word of the second line determines the first and third of the next stanza, so that each rhyme has three representatives.1 Another early form of the fourteenth century is the Caccia, of which the words were in the form of a madrigal (described below), but the essential point is that the music was in strict canon (at several bars distance) over an independent bass.
Saint Cecilia Goes South
Authors: Kirby Percival R.
Published: January 2007

It is my object in this paper to attempt to trace in outline the arrival and evolution of Western Music in South Africa from the earliest times to the present day. In the first place, however, I should like it to be clearly understood that I am giving this paper extempore. When I acceded to your Secretary's request that I should read a paper, I was in Devonshire; my books and records which are in South Africa were completely inaccessible, and so I had perforce to prepare my survey from memory.
The Choirboy and His Place in English Music
Authors: Nicholson Sydney H.
Published: January 2007

The modern choirboy is such a familar object, at any rate to those who go to Church, that it is not generally realised that he is in any sense an historical figure, and by some is even regarded as a necessary nuisance or as a person of no serious importance.

Yet in this familar figure we can, perhaps as nowhere else, see the living embodiment of some of those things which are most distinctively national in the music of our country.
The Cognitive Element in Musical Response
Authors: Lowery H.
Published: January 2007

An examination of our mental state at any moment of conscious experience reveals three distinguishable aspects in the relation of the “subject” experiencing and the “object” experienced, viz.: (1) the subject becoming aware of, or knowing the object, (2) the subject being attracted or repelled (pleased or pained) by the object, and (3) the subject attending to the object. These three relations are named respectively, cognition, affection (or feeling), and attention. Though they are readily distinguishable it must not be supposed that they occur in isolation; rather, they are all present at one and the same instant, being interdependent, but varying from time to time in relative predominance. Thus, when an unfamiliar object is presented to the subject, the cognitive process is by far the most important, but at a later stage when the object has become fully determinate, affection and attention are in the ascendant, the subject ultimately doing work upon the object (that is, attending to the object)—making its own positive contribution towards a change in the subject-object relation.
The Organ, Its History and Development
Authors: Willis Henry
Published: January 2007

The early form from which the organ developed was doubtless that of the Pan Pipes or Syrinx found in ancient civilisations (e.g. Chaldea, Greece) and mentioned in Homer's Iliad.

Virgil, 1st century B.C., mentions seven reeds of different lengths joined together by wax. There has been much argument as to whether these gave the Pentatonic or Diatonic scale.
Some Aspects of the Development of Indian Music
Authors: Bake Arnold A.
Published: January 2007

It is now very close upon two hundred years since Indian culture as such first struck scholars from the West and the momentous discovery of the language of Sanskrit opened the way for a completely new branch of studies—that of comparative philology.
On Various Attempts that have been Made to Record Extemporaneous Playing
Authors: Southgate T. L.
Published: January 2007

Most of the members of this Association are doubtless aware that from time to time efforts have been made to obtain a permanent record of music played extemporaneously. A little consideration of some of the conditions attached to our art will show the desirability of successfully achieving such an aim. Before this assembly there is no need to dilate on the fact that the trained composer is just as able—so to speak—to hear with his eyes, as ordinary people are to understand the import of words from silently reading them. The musician composes, or should at least write down his ideas, at the desk; indeed, in the case of orchestral or elaborate polyphonic music, no other course is practicable. This is the sound and proper method; and so long as intelligible “form” rather than disconnected rambling is recognised as an indispensable necessity on which to build, so long will the trained composer prefer the comparative slowness of writing at his desk, to dashing off his, perhaps cruder, ideas when sitting at his instrument. But having admitted the advantage of this mode of proceeding, we must not forget that there is also another side of music-art that ought not to be overlooked, and that is extemporaneous playing. I need not waste your time by dwelling on the various grades of this feature. Such extemporaneous playing as consists of fearful and wonderful chords, more or less vague, coming from nowhere in particular, and leading to the same place, that one too frequently hears doing duty as an in voluntary in our churches, or the astonishing preludising of youthful scramblers on the pianoforte, cannot too soon be forgotten. But above and far beyond these immature essays is the playing of true artists, whom nature has richly endowed with the faculty that we term inspiration.
Handel in our Time
Authors: Redlich Hans F.
Published: January 2007

The date of the foundation of the first German Bach Society, 11 December, 1850, marks, by common consent, the birth of modern musical research. It preceded by less than a year the issue of the first volume of the first complete edition of Bach's works. This event had been foreshadowed by the editorial efforts of two generations of Bach scholars, and it had originated in England. It was there, not in Bach's native country, that A. F. C. Kollmann, K. F. Horn and Samuel Wesley planned and issued critical editions of certain keyboard works of Bach at the turn of the eighteenth century. Only thirty years later the Bach revival became an international cause with Felix Mendelssohn's memorable performance of the St. Matthew Passion in Berlin on 11 March, 1829.
Byzantine Music and its Place in the Liturgy
Authors: Wellesz Egon
Published: January 2007

Twenty-Two years ago I had the privilege of talking to the Royal Musical Association about Byzantine music. At that time, Professor Tillyard and I had succeeded in transcribing some Byzantine hymns, after spending long years in trying to solve the riddle of their musical notation. I soon realised that Byzantine liturgical music was not inferior to plainsong and that it was well worth pursuing these studies more widely in order to compare the treasury of Byzantine hymns—hidden in a large number of manuscripts dating from the ninth to the fifteenth century—with the melodies of the Western Church.
Domestic Music in England 1800–1860
Authors: Temperley Nicholas
Published: January 2007

The earlier part of the nineteenth century is considered a ‘bad’ period of English music. It has been labelled, like the earlier period discussed by Dr. Sadie at our last meeting, a ‘Dark Age’. It is interesting to see on what basis these judgments are held. How much music written by English composers in the years 1800–1860 is still generally known? I have compiled a rough list of works that are still in current use, apart from occasional revivals. It is based on recent programmes, chapel lists, publishers’ catalogues, and so on.
Jazz Since 1945
Authors: Fox Charles
Published: January 2007

Half a century ago jazz was an obscure, regional American music. Today it can reasonably claim to be an international idiom. Jazz took shape in the southern part of the United States, the result of a fusion between Negro blues, ragtime and military march music, and for the past sixty years it has followed a pattern of development almost exactly similar to that of European music, but undertaken at a much more hectic speed. First came the beginning, in folk song. Next followed a polyphonic period, a period during which jazz evolved the New Orleans style of playing, with its improvising front line of trumpet, clarinet and trombone. The 1920s saw the introduction of written arrangements: on the one hand the organization of New Orleans jazz into a dramatic pattern by Jelly Roll Morton, the first authentic jazz composer; on the other, an increasing preoccupation with harmony, reflected in the growth of eleven- and twelve-piece ensembles. But for genuinely orchestral writing, jazz had to wait a few years longer, until Duke Ellington came to maturity as a composer, using timbres that were peculiar to the Ellington orchestra, building his scores around the talents of individual musicians.
English Cavalier Songs, 1620–1660
Authors: Spink Ian
Published: January 2007

I cannot pretend that the adjective ‘cavalier’ in my title has much significance beyond colouring what would otherwise have been an even more drab title. Nevertheless, I believe that ‘cavalier’ is perhaps a fair description of the most important song-writers of the period; Nicholas Lanier, the Lawes brothers and John Wilson (if not of the probably pro-Cromwellian Colemans); and their performing and listening public, including the occasional roundheads. As in other spheres, the musical origins of the developments later in the century can be traced to the early part of the reign of King James I. Many surviving manuscripts as well as printed collections leave little doubt that the Italian madrigal—not monody—was well known in England from 1588 onwards. The only monodies printed here were those in Robert Dowland'sMusical Banquet(1610) which included two by Caccini, one by Megli, and one anonymous piece. Notari's book of 1613 was also printed in England, though probably composed in Italy for the most part. Neither of these books can have exerted much influence, although Caccini's ‘Amaryllis’, which Dowland printed, became popular.
Handel as a Man of the Theatre
Authors: Trowell Brian
Published: January 2007

‘'TIS Vexatious to have such music neglected.’ Mrs. Pendarves was writing to her sister, Ann Granville. That same evening she was to attend a revival of Handel's Sosarme at the Hay-market Theatre, and she feared another empty house. She was right.

Since that day in 1734, many musicians and musical historians have echoed Mrs. Pen's vexation over the neglect of Handel's operas. Most of them have agreed with her about the excellence of the music; but few have said that its neglect was undeserved. For all his great gifts, we read, the master was working under impossible conditions.
The National Origins of Dvořák's Art
Authors: Clapham John
Published: January 2007

Well before the time that Dvořák was beginning to make a name for himself as a composer, a vigorous struggle had taken place in Bohemia to secure for indigenous literature, art and music a secure position in the cultural life of the country, a struggle that had been brought to a successful conclusion. Smetana had returned from Gothenburg; the Provisional Theatre, especially built for the performance of Czech operas and plays, was well established, and already in 1866 Smetana was installed as conductor of the theatre. It was not until six years later that Dvořák wrote his first successful work, The Heirs of the White Mountain. Smetana, in collaboration with Mánes the painter, was an active protagonist in bringing about this cultural revolution following a sudden weakening of the power of the Austrian Empire, and in consequence he wore the cloak of nationalism more consciously and deliberately than Dvořák did.
Musical Æsthetics
Authors: Breakspeare Eustace J.
Published: January 2007

In a former paper read before you on this subject of Musical Æsthetics, I had to content myself with a simple review of the theories of certain of the most prominent writers, past and contemporary. In making my conspectus I was led to deal more particularly with the little work by Dr. Hanslick that has made such great Stir in the musical literary world of late years; but I am afraid I reserved too much any decided opinion of my own on this vexed question; did not point my moral sharply enough, or, in other words, attempt sufficiently to fix the precise standpoint from which, to my thinking, these antagonistic theories should be viewed, and, if possible, some settlement of the question arrived at. In re-opening discussion on this theme, while endeavouring to define the subject a little more clearly, I cannot pretend—I trust it may not be expected of me—in the space of a short paper to formulate a complete system of musical philosophy. There is one point, at least, I would have well regarded—namely, the bearing of the subject on practical art; its importance, not only to the speculative thinker, but to the musician also, whether creative, executant, or recipient.
Some Practical Bearings of the Study of Acoustics Upon Music as an Art
Authors: Turpin James
Published: January 2007

The question is not unfrequently asked by musicians, “Of what value is the study of acoustics to music as an art”?

When our Honorary Secretary did me the honour to ask me to address you to-day, with his usual readiness of resource he kindly suggested the subject, which I have accepted with pleasure as one frequently misunderstood and under-rated, and supposed to have nothing to do with music as an art.
Jazz and the Composer
Authors: Dommett Kenneth
Published: January 2007

Wilfrid mellers has said that ‘if jazz is music it ought to be intelligible to musicians’. The truth of this is obvious; jazz is intelligible to anyone who takes the trouble to listen to it. But this should not obscure the fact that though jazz is certainly music in the sense that Mellers suggests, it is still music of a special kind. It has its own traditions, its own techniques, its own characteristics.
The Organ in the Medieval Latin Liturgy, 800–1500
Authors: Caldwell John
Published: January 2007

In spite of the wealth of literature dealing with the history of the medieval organ, surprisingly little of this is concerned with the use of the instrument in a liturgical context. The subject is mentioned, of course, but usually only in passing, as a matter of subsidiary importance compared with the details of construction, names of organ-builders, and so on, which constitute the main part of such publications. Even so noteworthy an article as that by Apel on ‘The Early History of the Organ’ conveys its extremely valuable information on the liturgical aspects in the context of an overall survey which begins by considering the instruments of classical antiquity. It is part of my purpose to try to reverse the process and to think of the mechanical details as subservient to the main topic: how the organ was actually used in the services of the Church.
The Duet in Early Seventeenth-Century Italian Church Music
Authors: Roche Jerome
Published: January 2007

Let us picture an average parish church of a north Italian city at the beginning of the seventeenth century—a church not of cathedral status, and one run on a fairly limited budget. What kind of music might one have heard there of a Sunday? Here there would be none of the pomp of Counter-Reformation Rome and its suave, sonorous polyphony; none of the stereophonic splendours of Venetian polychoral music. The total assembly of musicians could probably be counted on the fingers of the hand, and performance of sixteenth-century polyphony even in the least feasible number of parts (usually four) would have been poor. It was impractical for this type of choir.
‘My Lady Nevell's Book’ as a Source of Byrd's Keyboard Music
Authors: Brown Alan
Published: January 2007

‘My Lady Nevell's Book’ is one of nearly thirty manuscripts, mostly dating from the early seventeenth century, which contain keyboard music by Byrd. Unfortunately none of them is in the composer's own hand, and naturally they vary greatly in reliability. There is also the one printed source, Parthenia, dating from 1612–3. This, as one might imagine, is more accurate than any manuscript source, but it contains only eight of Byrd's pieces. My Lady Nevell's Book, on the other hand, contains 42 pieces, all of them by Byrd—that is to say, about a third of his surviving keyboard music. The copyist was John Baldwin of Windsor, who completed his task on 11 September 1591. Among the sources of Byrd's keyboard music, the Nevell book is outstanding in a number of ways. First of all, it is the earliest dated source; indeed, among the undated manuscripts only one is certainly earlier than 1591, and that ascribes but a single piece to Byrd. It is also the only virginal manuscript of any size to be devoted to the music of one composer; furthermore it appears to include all the important keyboard works that Byrd had composed up to that time. Alone among surviving virginal manuscripts, it was intended to be presented to an aristocratic patron, and three of the pieces in the book were composed expressly ‘for my ladye nevell’ herself. The book is exceptional also for its calligraphy. Baldwin was a most careful and conscientious scribe, and, as E. H. Fellowes remarked, no praise can be too high for the beauty of his penmanship.
Site-specific natural background concentrations of metals in topsoil from the Trail region, British Columbia, Canada
Authors: Sanei Hamed , Goodarzi Fariborz , Hilts Steven
Published: January 2007

The natural background level of elements in the surface soil of a given area is largely dependent on the geological setting of the region and the underlying soil parent material. Due to the heterogeneity of soil in various environments, it is essential to determine the site-specific natural background levels of elements to quantify the degree of influence of the anthropogenic source(s) within a given study area.

This paper discusses the process involved in establishing the natural background level of trace metals and other elements in topsoil for the area surrounding the Teck Cominco zinc–lead smelter in Trail, British Columbia, Canada. The environmental assessment of soil in the Trail region is difficult due to the natural enrichment of metals in surficial material and topsoil as a result of the influence of mineralized bedrock in the region. Detailed examination of the study area based on the deposition data and previously collected soil data led to the selection of presumably the least anthropogenically influenced background sites in the study area, which also reflect the geological diversity of the region. The range of background was defined using the median plus or minus two median absolute deviations [median±(2 × MAD)], after the outliers were excluded. The outliers were identified using the Tukey boxplot concept and the cause of high metal concentrations in the outlier samples is attributed to their proximity to the historical mining sites in the region. The upper limit of the background range was estimated to be (in mg/kg): As, 11.0; Cd, 0.81; Cu, 38.1; Hg, 0.07; Pb, 27.7; Zn, 152. The resulting values are significantly more conservative estimates than would be obtained by other widely used methods (e.g. the mean plus or minus two standard deviations) due to the robust procedure, which prevents any interference by the extreme values in the collected soil background dataset. The upper background thresholds of metals estimated by the 95th percentile resulted in significantly different estimates, especially for As, Hg, Pb and Zn, from the previously reported values. This highlights the need for revision of the risk-based screening levels by environmental regulations in the study area.
4E-Binding Protein 1, A Cell Signaling Hallmark in Breast Cancer that Correlates with Pathologic Grade and Prognosis
Authors: Rojo Federico , Najera Laura , Lirola José , Jiménez José , Guzmán Marta , Sabadell M. Dolors , Baselga Jose , Cajal Santiago Ramon y
Published: January 2007

Purpose: Cell signaling pathways include a complex myriad of interconnected factors from the membrane to the nucleus, such as erbB family receptors and the phosphoinositide-3-kinase/Akt/mTOR and Ras-Raf-ERK cascades, which drive proliferative signals, promote survival, and regulate protein synthesis.

Experimental Design: To find pivotal factors in these pathways, which provide prognostic information in malignancies, we studied 103 human breast tumors with an immunohistochemical profile, including total and phosphorylated (p) proteins: human epidermal growth factor receptor 2 (HER2), epidermal growth factor receptor, extracellular signal-regulated kinase 1/2, Akt, 4E-binding protein 1 (4EBP1), eukaryotic initiation factor 4E, phosphorylated ribosomal protein S6 kinase 1, phosphorylated ribosomal protein S6, and Ki67. Western blot and reverse lysate protein arrays were also done in a subset of tumors.

Results: Significantly, activation of the phosphoinositide-3-kinase/Akt/mTOR cascade was detected in a high proportion of tumors (41.9%). Tumors with HER2 overexpression showed higher p-Akt as compared with negative tumors (P < 0.001). Levels of p-Akt correlated with the downstream molecules, p-4EBP1 (P = 0.001) and p-p70S6K (P = 0.05). Although 81.5% of tumors expressed p-4EBP1, in 16.3% of these tumors, concomitant activation of the upstream factors was not detected. Interestingly, p-4EBP1 was mainly expressed in poorly differentiated tumors (P < 0.001) and correlated with tumor size (P < 0.001), presence of lymph node metastasis (P = 0.002), and locoregional recurrences (P = 0.002). Coexpression of p-4EBP1 and p-eIF4G correlated with a high tumor proliferation rate (P = 0.012).

Conclusion: In this study, p-4EBP1 was the main factor in signaling pathways that associate with prognosis and grade of malignancy in breast tumors. Moreover, p-4EBP1 was detected in both HER2-positive and HER2-negative tumors. This factor seems to be a channeling point at which different upstream oncogenic alterations converge and transmit their proliferative signal, modulating protein translation.
Virotherapy with a Type 2 Herpes Simplex Virus–Derived Oncolytic Virus Induces Potent Antitumor Immunity against Neuroblastoma
Authors: Li Hongtao , Dutuor Aurelie , Tao Lihua , Fu Xinping , Zhang Xiaoliu
Published: January 2007

Purpose: We recently constructed an oncolytic virus from type 2 herpes simplex virus (HSV-2) that selectively targets and kills tumor cells with an activated Ras signaling pathway. Designated FusOn-H2, this virus has shown several discrete killing mechanisms. Here, we evaluated the antitumor immune responses after FusOn-H2–mediated virotherapy in a syngeneic murine neuroblastoma model.

Experimental Design: We directly injected FusOn-H2 into established tumors and then measured its antitumor effect and the accompanying tumor-specific immune responses. Several oncolytic HSVs constructed from HSV-1 were included in the same experiments for comparisons.

Results: Our data show that tumor destruction by FusOn-H2 in vivo induces potent antitumor immune responses in this syngeneic neuroblastoma model. The elicited cellular immunity not only eradicated neuroblastoma cells in vitro but also inhibited the growth of tumors at sites distant from the virus injection site. Moreover, adoptive transfer of splenocytes from mice receiving virotherapy to naïve mice resulted in a measurable antitumor effect.

Conclusion: We conclude that the ability of FusOn-H2 to induce tumor-specific cellular immunity expands the oncolytic repertoire of this virus and increases the likelihood that its use in patients would produce significant therapeutic benefits.
Diastereomeric salt crystallization synthesis for chiral resolution of ibuprofen
Authors: Lam Wai H. , Ng Ka M.
Published: January 2007

Conceptual design and experimental investigations are integrated for synthesizing diastereomeric salt crystallization processes for chiral resolution. An anti‐inflammatory drug ibuprofen and a common resolving agent N‐methyl‐D‐glucamine were chosen to illustrate this integrative approach. Bench data were generated in a systematic manner. Solvent screening was conducted first to identify the right solvent to precipitate the diastereomeric salts. Solid–liquid equilibrium data of the diastereomeric salt system were then measured. Seeding was used to facilitate the precipitation of the desired component. All of this information was used to generate flow sheet alternatives to recover the desired diastereomeric salts. © 2007 American Institute of Chemical Engineers AIChE J 2007
A novel one‐pot procedure for preparation of some new condensed pyrido[2,3‐d]pyrimidine(1H,3H)‐2,4‐diones
Authors: Azizian Javad , Mohammadizadeh Mohammad R. , Mohammadi Ali A. , Karimi Ali R. , Teimouri Fatemeh
Published: January 2007

A novel one‐pot procedure for preparation of some new condensed pyrido[2,3‐d]pyrimidine(1H,3H)‐2,4‐diones based on condensation of ninhydrin, alkyl cyanoacetate, and 6‐aminouracil derivatives has been reported. The reactions were carried out in refluxed ethanol and were completed in less than 2 h. © 2007 Wiley Periodicals, Inc. Heteroatom Chem 18:16–18, 2007; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/hc.20242
Interpretation of interleukin‐2 receptor alpha positive cells during induction chemotherapy for adult acute myelogenous leukaemia patients
Authors: Min Woo‐Sung , Kim Hee‐Je , Choi Young , Jeong Hye‐Young , Kim Chun‐Choo
Published: January 2007

To correlate clinical outcomes with the expression of interleukin‐2 receptor alpha (CD25) positive cells during induction chemotherapy (IC) in adult patients with acute myeloid leukaemia (AML), we investigated the prognostic importance of subsets of peripheral blood (PB) CD45+CD25+ cells. Seventy‐five patients with newly diagnosed AML received the same initial IC; and serial PB samples were taken. The gated CD45/CD25 cell populations were used to compare the intensity of immunophenotypic signals based on the treatment timeline. Patients who responded poorly to IC demonstrated exceptionally higher levels of PB CD45+CD25+ cells by percentage (p = 0.003) or by absolute count (p = 0.046) on the seventh day (D + 7) of initial IC. In addition, patients in complete remission (CR) (n = 61) demonstrated relatively lower levels of steady PB CD45+CD25+ after standard IC. These results suggest that the expression of CD25 can be used to predict the response to IC during an early period of treatment. Copyright © 2007 John Wiley & Sons, Ltd.
The Effect of Operational Parameters of the Rancimat Method on the Determination of the Oxidative Stability Measures and Shelf‐Life Prediction of Soybean Oil
Authors: Farhoosh Reza
Published: January 2007

Operational parameters of the Rancimat method, including oil sample size, airflow rate, and temperature, were evaluated to determine their effects on the oxidative stability index (OSI), temperature coefficient, Q10 number, and shelf‐life prediction for soybean oil. Operational parameters of the Rancimat method had statistically significant effects (P < 0.05) on the OSI. Whenever the oil sample size and airflow rate at a given temperature were such that the air‐saturated condition could be established, the OSIs showed no statistically significant differences. As temperature increased, OSIs decreased, while their average coefficient of variation (CV) increased. In general, the conditions where the sample was saturated with air and had a relatively lower CV were an oil sample size of 6 g at all temperatures and airflow rates, then 3‐g oil sample size at low temperatures (100 and 110 °C) and low airflow rates (10 and 15 L h−1). The temperature coefficient and Q10 number were found to be independent of the oil sample size and airflow rate, and their mean values for soybean oil were calculated to be −3.12 × 10−2 °C−1 and 2.05, respectively. Oil sample size and airflow rate showed a significant effect on shelf‐life prediction for soybean oil. Therefore, choosing the right levels of these operational parameters in the Rancimat method may produce the least possible difference between predictions from long‐term storage studies and the OSI test.
Evidence of Protocarnivory in Triggerplants (Stylidium spp.; Stylidiaceae)
Authors: Darnowski D. W. , Carroll D. M. , Płachno B. , Kabanoff E. , Cinnamon E.
Published: January 2007

Abstract: Australian triggerplants (Stylidium spp.; Stylidiaceae) trap small insects using mucilage‐secreting glandular hairs held at various points on their inflorescence stems and flower parts. Triggerplants are generally found in habitats also containing genera of plants already accepted as carnivorous, two of which (Drosera, Byblis) use the same basic mechanism as Stylidium to trap their prey. In the herbarium, sheets of triggerplants and of accepted groups of carnivorous plants held similar numbers of trapped insects, and in the field, trapping of small prey per unit of glandular surface area was the same at a given site for triggerplants and for nearby carnivorous plants at three sites in northern Australia. Even more important, protease activity was produced by glandular regions of both triggerplants and Drosera after induction with yeast extract. A panel of negative and positive controls, including use 1) of plants grown in tissue culture, which therefore lack surface microorganisms, and 2) of protease inhibitors, shows that this activity 1) is generated by the glandular regions of the triggerplant itself, not by organisms that might reside on the surface of the plants, and 2) is due to proteases. All of this evidence taken together provides strong evidence of protocarnivory in Stylidium, something not previously suggested in the scientific literature, though the insect trapping has been noted informally. Experiments remain to be done to determine nutrient uptake, so triggerplants may well be fully carnivorous.
Pollination Biology of Mass Flowering Terrestrial Utricularia Species (Lentibulariaceae) in the Indian Western Ghats
Authors: Hobbhahn N. , Küchmeister H. , Porembski S.
Published: January 2007

Abstract: The pollination biology of three mass flowering Utricularia species of the Indian Western Ghats, U. albocaerulea, U. purpurascens, and U. reticulata, was studied for the first time by extensive observation of flower visitors, pollination experiments, and nectar analyses. The ephemerality of the Utricularia habitats on lateritic plateaus, weather conditions adverse to insects, lack of observations of flower visitors to other Utricularia spp., and the predominance of at least facultative autogamy in the few Utricularia species studied so far suggested that an autogamous breeding system is the common case in the genus. In contrast, we showed that the studied populations are incapable of autonomous selfing, or that it is an event of negligible rarity, although P/O was similarily low as in autogamous species investigated by other authors. In all three species the spatial arrangement of the reproductive organs makes an insect vector necessary for pollen transfer between and within flowers. However, U. purpurascens and U. reticulata are highly self‐compatible, which allows for visitor‐mediated auto‐selfing and geitonogamy on inflorescence and clone level. Floral nectar is present in extremely small volumes in all three species, but sugar concentrations are high. More than 50 species of bees, butterflies, moths, hawk moths, and dipterans were observed to visit the flowers, and flower morphology facilitated pollination by all observed visitors. The results are discussed in the context of the phenological characteristics of the studied species, especially the phenomenon of mass flowering, and the environmental conditions of their habitats.
Zakharov simulations of Langmuir turbulence: Effects on the ion-acoustic waves in incoherent scattering
Authors: Guio P. , Forme F.
Published: January 2007

This paper presents a numerical study of the effect of Langmuir turbulence on incoherent scatter spectra. The Langmuir turbulence is driven by low energy beams of electrons in the Earth’s upper ionosphere above 300km. The nonlinear coupling between Langmuir waves and ion-acoustic waves is governed by the Zakharov system of equations. The model is enhanced with stochastic forcing in order to estimate by how much over the thermal level the spectrum seen by an incoherent scatter radar will be enhanced. This also allows us to directly compare the modeled spectra to the observed spectra collected by the incoherent scattering technique, as well as to statistically investigate the signature of the modeled spectra through an exploratory data analysis. Results for different beam energies are presented, covering the regimes of weak as well as strong turbulence. The incoherent scatter spectra signature is discussed in light of these regimes. It is shown that incoherent scatter radar observations of enhanced ion-acoustic and/or Langmuir waves compared to thermal level can provide good estimates of the beam parameters and of the type of turbulent regime. The cascade regime leads to strongly asymmetric spectra with enhancements over a limited range of wave numbers. The cavitation regime leads to marginally asymmetric spectra, with enhancement over a wide range of wave numbers, and features a central peak for a limited range of wave numbers. Finally, it is shown that the Langmuir turbulence should be preferentially observed for scattering wavelengths large compared to the Debye length.
Mixed quantum-classical molecular dynamics simulation of vibrational relaxation of ions in an electrostatic field
Authors: Koutselos Andreas D.
Published: January 2007

The vibrational relaxation of ions in low-density gases under the action of an electrostatic field is reproduced through a molecular dynamics simulation method. The vibration is treated though quantum mechanics and the remaining degrees of freedom are considered classical. The procedure is tested through comparison against analytic results for a two-dimensional quantum model and by studying energy exchange during binary ion-atom collisions. Finally, the method has been applied successfully to the calculation of the mobility and the vibrational relaxation rate of O2+ in Kr as a function of the mean collision energy using a model interaction potential that reproduces the potential minimum of a previously known ab initio potential surface. The calculation of the steady mean vibrational motion of the ions in (flow) drift tubes seems straightforward, though at the expense of large amounts of computer time.
Configurations and diffusion of point defects in two-dimensional colloidal crystals
Authors: Zhang Tian Hui , Liu Xiang Yang
Published: January 2007

Configurations and diffusion of crystal defects are studied in a two-dimensional colloidal model system in the presence of an attraction. Monomer vacancies are immobile and have identical symmetry with the underlying triangular lattice. Both dimer vacancies and trimer vacancies have two different configurations and the configurations with higher symmetry are more stable. Dimer vacancies in the authors’ our experiments exhibit the highest diffusivity, whereas the global diffusion of vacancies of larger clusters, such as trimer vacancies, is inhibited. Compared with previous studies, it is found that defect dynamics is strongly dependent on the nature of the interaction potential.
The Transcriptions for Harmonie of Die Entführung aus dem Serail
Authors: Hellyer Roger
Published: January 2007

In the year 1954, two great Mozart scholars, Schmid and Giegling, brought to light a transcription for Harmonie of Mozart's Die Entführung aus dem Serail in the archive of Prince Schwarzenberg at Ceský Krumlov in southern Bohemia. Their reports caused no small excitement, even though they merely suggested the possibility that this was the long lost Harmonie transcription of the opera made by Mozart himself. They reported that the manuscript was in the hand of Haydn's copyist, Johann Elssler. It is the only anonymous Harmonie transcription of a Mozart opera in a group of five scored for pairs of oboes, English horns, bassoons and horns; all the others bear the name of Johann Went. Went is known to have made a transcription of Die Entfuhrung for pairs of oboes, clarinets, bassoons and horns; this was advertised in the Wiener Zeitung in 1784 by Lorenz Lausch, and the Entfuhrung transcription now in Florence probably represents a copy of this version. Schmid and Giegling mentioned obvious similarities between the Florence and Krumlov transcriptions, and noted the possibility that Went had copied Mozart's transcription.
A View of Elgar's Methods of Composition through the Sketches of the Symphony no. 2 in E♭ (op. 63)
Authors: Kent Christopher
Published: January 2007

The main sources of sketches for Elgar's Second Symphony are the two Stuart-Wortley volumes in the care of the Elgar Birthplace Trust. Each is bound in black calf-skin, and measures 26 by 31.5 cm. They are entitled as follows, firstly, (S-W/B):

Original Manuscript Sketches/for Symphony No. 2/by/Sir Edward Elgar//Short Score/As given by him to Mrs Charles Stuart-Wortley/March 1911 /♦/Bequeathed by her to the/Elgar Birthplace/Broad Heath, Worcester/1936.
Music and Spectacle at the Gonzaga Court, c. 1580–1600
Authors: Fenlon Iain
Published: January 2007

The death, on 14 August 1587, of Guglielmo Gonzaga Duke of Mantua and Monferrato, heralded a sudden shift in the political, economic and artistic policies of the Duchy. His successor, Vincenzo, had notions of a Mantuan role in the peninsular greatly disproportionate to the size of its territory and population, and it was undoubtedly an important part of his conception that the Gonzaga should be seen as patrons of the arts on a scale compatible with these ambitions. During the 1580s, Vincenzo had conspicuously preferred the hedonistic atmosphere of Ferrara and Florence to the Counter-Reformation gloom of his father's court, and in the years immediately after his accession began to import cultural fashions from these other centres. One important change in the musical establishment was the formation, probably completed by April 1589, of a permanent ensemble of virtuoso singers on the Ferrarese model. Another was the rejuvenation of theatre and spectacle at court, culminating in the presentation of opera and ballet during the carnival seasons of 1607 and 1608 and the wedding celebrations of the latter year. The following considers one aspect of this revived interest in music and spectacle, the attempted productions of Battista Guarini's Il pastor fido during the 1590s. The first section deals with the problems surrounding the gestation of the play, the attempted productions and the surviving music. The second considers some of the novel aspects of that music in relation to other traditions.
Computers in the Analysis of Music
Authors: Bent Ian , Morehen John
Published: January 2007

In The Times of 24 April 1963 there appeared a headline which read: ‘The Computer as Composer?’. A mathematics lecturer in Bristol had been reading into a computer the elementary rules of melodic construction, in order that the computer should be able to compose, in return, well-constructed melodies. The lecturer had spoken of programming the characteristics of the great composers, as to melody and harmony, and of getting back ‘original compositions in their style’. We in this, the first paper to be published in the Proceedings of the Royal Musical Association on computers and their applications to music, are not going to make such extravagant propositions. We aim to give an introduction to the ways in which a computer may be used for musical analysis, and at the same time to convey the ‘feel’ of working with a computer. We shall present two analytical projects which have been designed specially for demonstration in this paper. But before presenting our analytical projects, a few preliminary words must be said about the computer and how we use it. We shall speak very briefly about the nature of a computer, about the way in which we submit work to it, about the way in which we present music for it to ‘read’, and about the way in which we tell the computer what it is to do with that music.
The Achievement of Ragtime: An Introductory Study with some Implications for British Research in Popular Music
Authors: Dickinson Peter
Published: January 2007

Rupert Hughes, in The Boston Musical Record, 1899:

Ragtime meets little encouragement from the scholarly musician. It has two classes of enemies: the green-eyed, blue-goggled fogy who sees in all popular music a diminution of the attention due to Bach's works; and the more modern scholar who thinks he has dismissed the whole musical activity of the Negro by a single contemptuous word.

But … [none of these reproaches] … has ever succeeded against a vital musical idea, and I feel safe in predicting that ragtime has come to stay, that it will be taken up and developed into a great dance form to be handled with respect, not only by Negro creators, but by the scholarly musicians of the whole world.1
The Norman Chant Traditions — Normandy, Britain, Sicily
Authors: Hiley David
Published: January 2007

For practical reasons, this paper concerns not the complete corpus of Norman liturgical books, but simply those which contain music for mass (or information about it). The sources upon which my survey is based are listed in Table 1 on pages 14–16. They are grouped according to place of origin, in four sets: sources from (i) Normandy, (ii) areas of north France adjacent to Normandy, (iii) Britain, (iv) Sicily, South Italy and the Holy Land. When more than one source survives from a particular church, each is distinguished by a readily comprehensible qualifier in square brackets. The contents of the chosen sources are examined from six main points of view: post-Pentecost alleluia series, then the complete alleluia, sequence and ordinary of mass repertories, and finally variant readings in proper of mass chants and in sequences. The crosses in the columns opposite each source in Table 1 indicate that the source has been used in one of the six types of investigation. Thus the troper from St Evroult (Paris, Bibl. Nat., lat. 10508) contains material for a study of alleluia, sequence and ordinary of mass repertories, and the text and melody variants in sequences; but for the St Evroult post-Pentecost alleluia series one must consult the sacramentary Rouen, Bibl. Mun., 273, which has chant text incipits in its margin. No St Evroult book survives with chant melodies for all the proper of mass, so St Evroult must remain unrepresented in the study of melodic variants in the proper of mass. It goes without saying that some books can be assigned more confidently than others to particular churches. Table 1 is therefore followed by brief notes explaining the more tentative or less widely known among the assignations I have made. The churches of Normandy mentioned in this paper are shown in Map 1 on page 18.
The Operas and Melodramas of Zdeněk Fibich (1850–1900)
Authors: Smaczny Jan
Published: January 2007

In a monograph entitled Zdenko Fibich published within a year of the composer's death, the musicologist Zdeněk Nejedlý asked the following question: ‘And who was more versatile than Fibich?’ The answer as far as Nejedlý was concerned was: ‘No one in the whole of the nineteenth century.’ Many of Fibich's contemporaries were quite certain that he occupied a position equal to his more internationally successful colleague Antonín Dvořák. Evidence of his contemporary standing is abundant, and his position in the firmament of Czech composers was characteristically summed up by William Ritter in 1896 when he described Fibich as the ‘Son’ in the ‘Holy Trinity’ of Czech music, in which Smetana was, naturally enough, the ‘Father’ and Dvořák the ‘Holy Spirit’. In an obituary article the critic Emanuel Chvála had no hesitation in putting Fibich next to Dvořák as ‘… the most eminent of our contemporary composers’. Nejedlý's assertion concerning Fibich's versatility is not entirely unworthy of examination. He contributed to many genres and expanded the scope of his theatrical activities with his cultivation of scenic melodrama. As a composer of opera Fibich stood aside from his Czech contemporaries in his deliberate avoidance of folk-orientated material and his compulsive interest in theatrical experiment. His intellectual demeanour led to collaborations with the finest Czech librettists of the time, and a close identification with the views of the aesthetician Otakar Hostinský (1847–1910). Believing strongly in the role of experiment in art, 4 and with a firm commitment to the principles of Wagnerian music drama, Hostinský was an ideal partner for the composer in the opera The Bride of Messina, the work which set the seal upon Fibich's position as an innovative force in Czech musical theatre.
Style, Structure and Taste: Three Aspects of the Problem of Franz Schreker
Authors: Franklin Peter
Published: January 2007

A combination of critical fashion and political barbarism swept Schreker and his music from the stage of European culture at a particularly unfortunate time. The poor receptions of both Irrelohe in 1924 and Der singende Teufel in 1928 prepared the way for the Nazis' diagnosis of ‘degeneracy’ and subsequent ousting of the part-Jewish composer from his directorship of the Berlin Hochschule für Musik in 1931. His enforced retirement from the Prussian Academy of Arts at the end of 1933 was the final blow, and he died after a stroke, shocked and disillusioned, in the following year. The problems now besetting the reinstatement in the annals of twentieth-century music of what was once a household name in Germany, are not entirely dependent upon the ironies of fashion - and historical misfortune, however. For Schreker, the associate of Schoenberg in Vienna during the first decade of the century, had achieved something that ran counter to the most cherished unspoken dogma of twentieth-century artistic radicalism. He had become popular. He had built a bridge between radical innovation and popular taste.