bluuebunny/crossref_metadata_2025_split huggingface dataset:
RF41 LIQUID BIOPSY FORCARDIAC TUMORS
Authors: Santise G. , Maselli D. , Mignogna C. , PIrrone K. , Mollace V. , Donato G. , Malara N. 
Published: November 2018

Background:
Cardiac tumors are a small percentage of cardiac disease. They are mostly identified and diagnosed by echocardiography. Anyway, histological diagnosis can be obtained after surgical resection. The possibility of knowing the nature of the tumor before the surgery would be beneficial to plan the appropriate strategy.
We applied a specific liquid biopsy procedure on peripheral blood, to verify the hypothesis that cells becoming from the tumor circulate in the bloodstream and can be isolated and cultured.

Method:
In six patients with echocardiographic diagnosis of cardiac mass, we collected 5 ml of peripheral blood the day before surgery. The blood was processed following the procedure previously reported1-2. Cellular suspension isolated from the blood were seeded on chamber slides and cultivated for 14 days, and then the cellular growth were analyzed by cytometry and cells morphology by hematoxylin eosin staining. The results have been compared with the histological diagnosis made by two blinded pathologists on the surgical specimen.

Results:
In two cases the diagnosis made with the liquid biopsy was cardiac mixoma, in two angiosarcoma and in the last two fibroelastome. The five patients were sent to surgery and the traditional histological diagnosis confirmed the results of liquid biopsy.

Conclusion:
The liquid biopsy appear to be safe and effective to reach a correct diagnosis. This can be useful to plan the correct strategy in case of cardiac masses.
Reference
1. J Biol Regul Homeost Agents. 2014 Oct-Dec;28 (4):717-31.
2. J Transl Med. 2016 May 12;14 (1):133. doi: 10.1186/s12967-016-0876-y
RF83 THE ROLE OF CHRONIC SUPERIOR CAVAL SYNDROME AND STENOSIS OF JUGULAR VEINS IN NEURODEGENERATIVE DISEASES. SURGICAL TREATMENT AND PRELIMINARY RESULTS.
Authors: Spagnolo S. , Barbato L. , Grasso M.A. , Spagnolo P. 
Published: November 2018

Background:
In the case of a stenosis of the superior vena cava, the cerebrospinal venous circulation (CSVC) normally flows in the jugular and brachiocephalic veins and, through the upper intercostal veins and the mammary veins, it reaches the azygos and the inferior vena cava.
Recent studies have shown that in the presence of a stenosis of the superior vena cava (SVC), venous blood can invert the direction of its flow and move towards the CSVC.
To confirm this hypothesis, we describe the angiographic status of two patients with stenosis of the SVC.

Methods:
First case. A 67-year-old-woman undergoing reconstructive surgery for an ascending aortic aneurysm. The postoperative period, the patient presented a progressive appearance of an upper left anterior oedema with significant swelling of the neck suspecting a brachiocephalic vein stenosis.
Second case. A 52-year-old-male with a collar of stokes oedema, turgor of the jugular veins, congestion of the face and conjunctiva and marked venous circle of the thorax. An echo-colordoppler examination revealed thrombosis of the SVC due to the placement of a central venous catheter with reflux into the right jugular vein. An injection of contrast into the right basilar vein confirmed that there was a stenosis of the SVC.

Conclusion:
Both patients underwent surgery and angiographic controls performed after stenosis removal showed normalization of the direction of blood flow from the cerebral venous loop to the superior vena cava. Patients with neurodegenerative diseases present alteration of the venous system, therefore a surgical correction could determine a possible clinical improvement.
RF77 IGM-ENRICHED-IMMUNOGLOBULINS ASSOCIATED WITH EMIC 2 FILTER IN TREATMENT OF EARLY SEPTIC SHOCK AFTER CARDIAC SURGERY: A CASE SERIES
Authors: Paternoster G. , Vitiello M. , Pittella G. , Dielo C. , Luzi G. 
Published: November 2018

Septic shock after cardiac surgery is rare,with a prevalence between 0,39% and 2.5% (1). and mortality, from 65% to 79%. Reducing the time to diagnosis and early extracorporeal treatement is a crucial factor for reducing mortality (1) We assessed the effectiveness of IgM Enriched Immunoglobulins associated with 72 hours of CRRT with Emic2 in post-cardio surgical septic shock patients. We tested IL 6, Procalcitonin, WBC and Enodotixin Activity before treatment and at 24,48 and 72 hours. We tested SOFA score Inotropic Score and Ventricular arterial coupling (Ea/Ees) measured badside with iElastance2017®
This experience confirm that Pentaglobin® with Emic2 in early septic shock is safe and reduce concentration of major cytokines and endotoxin activity. It seems to be useful in reducing sofa Score and Inotropic Score and in improving Cardiovascular performance Further larger assessment can be advised for confirmation.

Paternoster. JCVA 2016 (773.780)

Benedetto J T C Surg. 2010, 646-70.

Wand P One Aug 9,2016
Transformasi Yudhisthira Mahabarata dalam Tradisi Pedalangan
Authors: Wahyudi Aris 
Published: November 2018

ABSTRAK Artikel ini menjelaskan konsep Yudistira dalam tradisi wayang sebagai kontinuitas Yudhistira dalam epos Mahabharata. Transformasi ini diikuti oleh konsep berkelanjutan yang dapatmengikuti dengan menggunakan konsep Jawa, asma kinarya japa. Dengan demikian dapat disimpulkan bahwa konsep Yudistira dalam tradisi pedalangan adalah sistem transformasi dilihat dari mitologi ritual. Meskipun ceritanya diadopsi dari India Mahabharata, namun Wayang Purwa menggambarkan pola pikir asli Jawa. Wayang Purwa telah diwariskan dari generasi ke generasi, namun telah mampu mempertahankan konsep aslinya. Kata kunci: Yudistira, mahabarata, wayang ABSTRACT Hermeneutic Cirkle of Yudhistira in Puppetry Tradition. This article explains Yudistira’s concept in a wayang tradition as a continuity of Yudhishthira in Mahãbhãrata epic. The transformation was followed by continuous concept that can be trailed by employing Javanese theory, such as asma kinarya japa theory. It can be concluded that the concept of Yudistira in the pedalangan tradition is a transformation system viewed from the ritual mythology. Although its story is adopted from Indian Mahabharata, but Wayang Purwa illustrates an original Javanese mindset. Wayang Purwa has been inherited through generations, yet it has been able to maintain its original concept. Keyword: Yudistira, Mahabarata, wayang
Pola Kellèghãn dan Teknik Vokal Kèjhungan Representasi Ekspresi Budaya Madura dan Pengalaman Estetiknya
Authors: Mistortoify Zulkarnain , Haryono Timbul , Ganap Victor , L. Simatupang G.R. Lono 
Published: November 2018

Kèjhungan adalah gaya nyanyian Madura yang memiliki ciri-ciri kontur melodi dengandidominasi nada-nada tinggi, penuh dengan ketegangan suara (nyaring), ekspresif, dan terpola.Kèjhungan seringkali dianalogikan sebagai sebuah bentuk ekspresi “keluh-kesah” semata. Kelantangansuara, ketinggian nada, dan pengolahan melodi yang penuh melismatis mengesankan nyanyian iniseperti orang yang sedang berteriak, membentak, dan merintih-rintih. Penelitian ini dilakukan untukmengungkap hubungan antara karakteristik kèjhungan dengan dunia pengalaman manusia pemiliknya.Oleh karenanya, aspek yang dikaji tidak hanya melihat aspek materi nyanyian itu sendiri, melainkanmelihat pula perilaku menyanyikannya. Melalui analisis struktural-hermeneutik dan pendekatanetnoestetik, ditemukan bahwa kellèghãn (pola-pola kalimat lagu) menjadi karakteristik pokok daribentuk kèjhungan dan teknik vokalnya yang bertumpu pada capaian ekspresi yang “menggebu-gebu”.Ide dan konsep yang tergali dibalik itu menunjukkan adanya relasi antara kebiasaan menyanyi orangMadura dengan pengalaman sejarah sosial-budayanya. Hasil penelitian ini menunjukkan bahwanyanyian Madura secara fenomenologis memberikan petunjuk yang sangat jelas sebagai representasidari ekspresi budaya dan pengalaman estetik, khususnya pada sub kultur barat Madura. Kellèghãn Pattern and Kèjhungan Vocal Technique, the Representation of Madurese CulturalExpression and Aesthetic Experience. Kèjhungan is a singing style specific to Madurese. It features thepatterned melodic contour dominated by high pitch vocal, expressiveness, and full of vocal intensity. Maduresekèjhungan is often misperceived only as a form of “moaning” due to its piercing sound, high pitch note, andmelismatic melody. Kèjhungan gives an impression of a person shrieking and moaning at the same time. Thestudy of kèjhungan was conducted to reveal the relationship between the singing characteristic and humanexperiences. Therefore, kèjhungan aspects should not only focus on the singing material itself, but it shouldalso include a study on how people sing it. Using the structural-hermeneutic analysis and ethno aestheticapproach, the kellèghãn (patterns of musical phrase) and vocal techniques that rest upon volatile expressionare the basic characteristics of kèjhungan. The idea and concept behind those techniques show a connectionbetween Madurese singing practice and the chronicle of their socio-cultural experience. Finally, this researchshows that in phenomenological aspect it gives a very clear clue on the representation of the Madurese cultureexpression and aesthetic experience, especially the sub-culture of West Madura.
Model Pembelajaran Seni Musik melalui Lesson Study: Studi Kasus di SDN Jawilan, Serang
Authors: Fitriani Yulianti 
Published: November 2018

Artikel ini dilatar-belakangi persoalan pembelajaran seni musik di SDN Jawilan Kab. Serang. Di SD ini penyelenggaraan pendidikan seni belum memperoleh perhatian yang cukup baik dari guru. Hal ini dapat dilihat dari pembagian alokasi waktu pembelajaran dan keterlibatan guru kelas yang tidak memiliki latar belakang pendidikan seni (musik). Dampak yang muncul, rata-rata siswa belum memiliki kemandirian dalam berkreativitas dan kurang berpartisipasi aktif dalam kegiatan musik baik di sekolah maupun di luar sekolah. Untuk memperbaiki persoalan tersebut dirasa perlu meminjam Lesson Study yang di dalamnya terdapat metode, pendekatan dan strategi pembelajaran sebagai pola untuk membelajarkan seni musik agar dapat memberikan alternatif sudut pandang terhadap persoalan metode yang tepat guna dan terencana dalam pengajaran pendidikan musik di SD, termasuk paradigma membelajarkan musik secara hakiki. Hasil yang diperoleh dapat memberikan alternatif sebagai dasar pengembangan pembelajaran seni musik. The Model of Music Learning through a Lesson Study: A Case Study in Jawilan Elementary School, Serang. The learning problems of music lessons at Jawilan Elementary School in Serang becomes the mainly source of the research background in this article. The implementation of art education in this school has not gained enough attention from teachers. It can be seen from the distribution of the allocated time of learning and the involvement of classroom teachers who do not have sufficient background in art education (music). The appearing impact shows that the average of students do not have any independence in creativity and have less-active participation in the activities of musical arts either in school or outside the school. However, solving the problem is necessary to do by using a Lesson Study as a pattern (approaches, strategies, and methods of learning) to teach music that can be used as an alternative point of view in developing methods and organizing the appropriate ones, including the paradigm of teaching music at school essentially. The results obtained from the activity may provide the alternative method as a basis for the development of learning music at school.
Musik Internal dan Eksternal dalam Kesenian Randai
Authors: Rustiyanti Sri 
Published: November 2018

Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab.
Lirik Musikal pada Lagu Anak Berbahasa Indonesia
Authors: Tyasrinestu Fortunata 
Published: November 2018

Penelitian ini mengkaji bahasa lagu anak berbahasa Indonesia. Lagu anak berbahasa Indonesia adalah lagu yang diperuntukkan dan dinyanyikan oleh anak-anak sesuai dengan perkembangan anak. Tujuan penelitian ini adalah untuk mendeskripsikan karakteristik lagu anak (LA) secara musikal dengan memperhatikan kata-kata atau lirik yang ada dalam lagu anak berbahasa Indonesia. Karakteristik lirik dan karakteristik musikal yang saling menyatu merupakan harmoni yang indah dalam lagu anak. Penelitian ini menggunakan metode deskriptif. Analisis yang diterapkan adalah metode holistik yang dipergunakan untuk melihat LA dari beberapa perspektif melalui wawancara dan angket yang diperoleh dari praktisi musik dan praktisi pendidikan, guru, orangtua, siswa dan awam. Hasil penelitian menunjukkan bahwa lagu anak berbahasa Indonesia mempunyai beberapa karakteristik secara lirik dan musikal yaitu 1) pola ritme yang diulang secara musikal, 2) melodi yang diulang secara musikal, 3) motif yang diulang secara musikal, dan 4) kata-kata yang diulang secara musikal. Fungsi lagu anak berbahasa Indonesia selain untuk belajar bahasa juga mengandung nilai pendidikan dan karakter positif untuk anak dengan kata-kata bermakna positif pada lirik-liriknya. The Characteristics of Musical Lyrics on Indonesian Children Songs.The study tries to examine the discourse of Indonesian children songs. Indonesian children songs are songs that are composed for and sung by children in accordance with the child development stages. The purpose of this study is to describe the discourse of Indonesian children songs which describe their musical characteristics by giving more attention on words or lyrics of the songs. The characteristics of lyrics and musical characteristics that belong to each other are mainly a beautiful harmony in children songs. This study uses a descriptive method. The holistic method is employed to analyze children songs from some perspectives by doing the interview and distributing questionnaires to musicians, educators, teachers, parents, students, and common people in terms of composition background, the actual condition, and the resulted effect. The result shows that the Indonesian children songs have their own lyrics and musical characteristics as the followings: 1) the pattern of repeated musical rhythm, 2) the musically-repeated melody , 3) the repeated musical motives, and 4) the musically-repeated words. The function of Indonesian children songs is to learn a language of which the songs may also contain positive education values and characters for children by showing the meaningful words in the lyrics.
Musik Kontemporer dalam Kurikulum dan Buku Sekolah di Jerman
Authors: Sukmayadi Yudi 
Published: November 2018

Tulisan ini menyajikan tentang posisi musik kontemporer dalam kurikulum dan buku sekolah di Jerman. Hal yang dibahas adalah pemilihan materi musik kontemporer untuk setiap kelas, jenis musik kontemporer yang dibahas, serta metode didaktis yang diterapkan. Berdasarkan analisis dapat disimpulkan bahwa melalui pelajaran musik kontemporer, siswa tidak hanya mempelajari hal musikal, namun juga mempelajari masalah kontekstualnya di masyarakat, termasuk di dalamnya masalah musik kontemporer dan perkembangan teknologi. Contemporary Music in German Curriculum and Schoolbooks. This study presents the position of contemporary music in German curriculum and schoolbooks in Germany. This study discusses how to select contemporary music materials for every class, kinds of contemporary music, and how the didactic concepts are applied. This study also discusses how, through contemporary music, the students are introduced to contextual problems in society, including the issue of contemporary music and technology development.
Keprakan dalam Pertunjukan Wayang Gaya Yogyakarta: Studi Kasus Pementasan Ki Hadi Sugito
Authors: Putra Ign. Nuryanta , Prasetya Hanggar B. , - Sunyata 
Published: November 2018

Keprakan adalah bunyi yang dihasilkan oleh cempala tangan atau cempala kaki yang dipukulkan pada kotak wayang dalam pertunjukan wayang. Keprakan menjadi bagian dari karawitan pedalangan dan memiliki peran penting dalam membangun estetika pertunjukan. Penelitian ini bertujuan untuk mendeskripsikan dan memahami teknik dan pola keprakan dalam pertunjukan wayang. Data diperoleh melalui pengamatan pada dua puluh pertunjukan wayang yang dipergelarkan oleh Ki Hadi Sugito. Analisis musikal dilakukan dengan cara melihat hubungan antara keprakan dengan jenis gending dan suasana adegan yang diciptakan. Berdasarkan hasil penelitian dapat disimpulkan bahwa bunyi keprak memiliki dua fungsi utama, yaitu sebagai penanda atau aba-aba dari dalang kepada para pengrawit dan memberikan suasana dramatik sehingga pertunjukan terasa hidup. Pola keprakan terbentuk dari dua unsur yaitu neteg dan mlatuk. Dari dua pola ini berkembang pola permainan lainnya seperti mbanyu tumetes, ngeceg, nisir, nduduk, dan geter. Keprakan in Yogyakarta Wayang Style: A Case Study on Ki Hadi Sugito’s Wayang Performance. Keprakan is the sound produced by hand or foot cempala slapped on the puppets box in a wayang performance. Keprakan becomes part of the music for wayang and has an important role in building a performing aesthetic. This study aims to describe and understand the keprakan techniques and patterns in wayang performance. The data are obtained through observations on twenty of Ki Hadi Sugito’s wayang performances. The musical analysis is done by looking at the relationship between keprakan with the musical types and the created atmosphere scene. Based on this study, it can be concluded that the keprak sound has two main functions, namely as signs or clues from the puppet master to the musicians, and to provide a dramatic atmosphere. Keprakan pattern is formed of two elements, namely neteg and mlatuk. Of these two patterns produce other patterns such as mbanyu tumetes, ngeceg, nisir, nduduk, and geter.
Peran Partisipan sebagai Bagian Infrastruktur Seni di Sumatera Barat: Perkembangan Seni Musik Talempong Kreasi
Authors: Ardipal Ardipal 
Published: November 2018

Perkembangan seni tidak lepas dari peran pelaku seni atau seniman musik. Namun peran itubukan hanya terletak pada seniman, tetapi juga berbagai unsur yang terlibat dalam kesenian dalammasyarakat atau partisipan seni, yang terlihat dalam infrastruktur seni. Penelitian ini menggunakanpendekatan deskriptif analisis, dengan maksud memberikan gambaran partisipan seni sebagai bagiandari infrastruktur seni dalam konteks kesenian Talempong Kreasi. Penelitian ini dilakukan untukmenjawab pertanyaan siapa yang berperan dan apa yang dilakukan mereka dalam musik talempongtradisi. Hasil penelitian ini menunjukkan bahwa talempong tradisi berhasil dikembangkan olehtokoh partisipan akademik. Pengembangan ini terlihat dari konsep harmoni dalam komposisi musikdan penggabungan alat musik baru dan tradisi sehingga lahirlah Talempong Kreasi. Genre musikini dapat berfungsi untuk pembentuk imaji dan identitas Minangkabau di masyarakat. Di antara permasalahan baru yang timbul, karena hasilnya masih berfokus kepada produksi musik komersial, bukan pada kualitas musik. The Participants Role as a Part of the Arts Infrastructure in West Sumatra: The Developmentof Talempong Kreasi Musical Arts. The development of art cannot be separated from the role of performersor musical artists. But the role does not merely only lie in the artists themselves, but also in the various elementsinvolved in the arts in the community or the participants of art, which are commonly visible in the artsinfrastructure. This study used a descriptive analytical approach, with the intention of giving the participantsan overview of art as a part of the infrastructure of the art in the context of Talempong Kreasi art. Thisstudy was conducted to answer the questions of who play the role, and what they have done for Talempongmusic tradition. These results indicate that the tradition of talempong has successfully been developed by theacademic participants. This development can be seen from the concept of harmony in the music compositionand the incorporation of new and traditional music instruments so that the the tradition of TalempongKreasi is emerged. This genre of music can be served for forming the image and Minangkabau identity inthe society. Among the new problems that arise, the result still focuses on the production of commercial music, not on the quality of the music.