bluuebunny/crossref_metadata_2025_split huggingface dataset:
Biocidal Activities of Cationic Surface Active Starch and Its Transition Metal Complexes Against Different Bacterial Strains
Authors: Zaky Mohamad F. 
Published: February 2010

AbstractStarch alkyl triethanolammonium chloride derivatives and their metal complexes (Cu2+, Co2+ and Fe3+) were prepared and characterized using elemental analysis, FTIR, and 1H‐NMR spectra. The synthesized compounds were evaluated as antimicrobial agents against different microorganism including bacteria (gram +ve and gram −ve) and fungi. The effect of the chemical structure of the targeted cationic surfactants was discussed based on the surface parameters including surface tension and critical micelle concentration (CMC). Also, the effect of the structure of these surfactants and their metal complexes of Cu2+, Co2+ and Fe3+ on the cell membrane is discussed as well as their potent action on the targeted bacteria and fungi.
How accurate are adolescents in portion-size estimation using the computer tool Young Adolescents' Nutrition Assessment on Computer (YANA-C)?
Authors: Vereecken Carine , Dohogne Sophie , Covents Marc , Maes Lea 
Published: February 2010

Computer-administered questionnaires have received increased attention for large-scale population research on nutrition. In Belgium-Flanders, Young Adolescents' Nutrition Assessment on Computer (YANA-C) has been developed. In this tool, standardised photographs are available to assist in portion-size estimation. The purpose of the present study is to assess how accurate adolescents are in estimating portion sizes of food using YANA-C. A convenience sample, aged 11–17 years, estimated the amounts of ten commonly consumed foods (breakfast cereals, French fries, pasta, rice, apple sauce, carrots and peas, crisps, creamy velouté, red cabbage, and peas). Two procedures were followed: (1) short-term recall: adolescents (n73) self-served their usual portions of the ten foods and estimated the amounts later the same day; (2) real-time perception: adolescents (n128) estimated two sets (different portions) of pre-weighed portions displayed near the computer. Self-served portions were, on average, 8 % underestimated; significant underestimates were found for breakfast cereals, French fries, peas, and carrots and peas. Spearman's correlations between the self-served and estimated weights varied between 0·51 and 0·84, with an average of 0·72. The κ statistics were moderate (>0·4) for all but one item. Pre-weighed portions were, on average, 15 % underestimated, with significant underestimates for fourteen of the twenty portions. Photographs of food items can serve as a good aid in ranking subjects; however, to assess the actual intake at a group level, underestimation must be considered.
Sessions's Concertino
Authors: Cone Edward T. 
Published: February 2010

‘A concerto of relatively small dimensions’ is Roger Sessions's own characterization of his Concertino for Chamber Orchestra. In a programme note accompanying the recording and (in slightly abridged form) the score, the composer explains how his conception of the work arose largely from practical, though artistically relevant, circumstances. The Concertino, written in 1971–72, had been commissioned by the Fromm Foundation for The Contemporary Chamber Players of the University of Chicago, a group directed by the wellknown composer and conductor Ralph Shapey:… Mr. Shapey's organization is composed of players who, especially among the woodwinds, are accustomed to playing several instruments in their chosen categories. Since this work, designed as it is for an orchestra of chamber dimension, … by conception as well as by the demands of the medium itself, emphasizes solo performance, I decided to avail myself of the players' versatility and give each of the various available instruments a significant role to play.
Schnittke in Context
Authors: Webb John 
Published: February 2010

Generally, I find Alfred Schnittke's music rewarding and refreshing; however, I cannot help treating certain aspects of it with some suspicion. The elements which form the basis of my doubts are cogently summed up by Hugh Collins Rice:Structures are often the most basic of designs, thematic techniques appear unsophisticated (transformations, canons, simple heterophonic devices). Climaxes are achieved by extravagant instrumental gestures, long pedal points are used to unify paragraphs…and serial devices amount to the simplest chromatic formations.
Roger Sessions: a Discography
Authors: Rapoport Paul 
Published: February 2010

This discography includes all the gramophone records I have been able to trace which contain music by Roger Sessions and were issued before September 1978 for sale or for broadcast. If there are errors or omissions, I will be grateful to those who will notify me of them via the editor of TEMPO.The compositions are numbered in alphabetical order. The dates of compositions are approximate: it is often difficult to determine when works by Sessions were begun. Some of the dates include a certain amount of ‘gestation’ and sketching while others may not.
Dallapiccola and the Organ
Authors: Shackelford Rudy 
Published: February 2010

Early in the Summer of 1969, having just completed an organ transcription of Quaderno Musicale di Annalibera (‘Musical Notebook of Annalibera’) by Luigi Dallapiccola, I wrote to the composer—who was then in residence at the Dartmouth Congregation of the Arts in Hanover, New Hampshire—describing my work and seeking his advice for revisions. His reply, written in English and dated 9 July 1969, stated in part:It is very interesting to know that you saw some possibilities of an organ transcription of the Quaderno Musicale di Annalibera, but since I do not play the organ it would be very difficult for me to judge the real value and importance of your transcription.
Two Novellas
Authors: Karetnikov Nikolai 
Published: February 2010

Before they performed my ballet Vanina Vanini in 1961, the renowned Bolshoi Theatre orchestra had never played any music that had been written in the 12-note system.There was a lot of tension at the first rehearsal. The musicians neither understood or accepted the music. Their heads turned in bewilderment every time a phrase was taken up by a different instrument to the one that had begun it. It gradually dawned on me, and the musicians themselves, that they were simply incapable of playing the piece.
Tributes to Dallapiccola
Authors: Lutyens Elisabeth , Henze Hans Werner , Wood Hugh 
Published: February 2010

I first met Luigi Dallapiccola in 1946. The annual Festival of the ISCM—lapsed during the war—took place in London that year, giving an opportunity of renewing old acquaintances and meeting new colleagues.My first sight of Dallapiccola—no one, not even his wife, Laura, ever calls him Luigi—was of a tiny figure of great vitality and dignity on which was poised a large, noble head (then black-haired) tilted at a strange angle when looking up into the faces of those he was speaking with. The speech was always accompanied by many gestures from his large, expressive hands.
The Abolition of Thematicism and the Structural Meaning of the Method of Twelve-Tone Composition
Authors: Spinner Leopold 
Published: February 2010

The structural significance of the Method of Composing with Twelve Tones is expressed in the following statements by Arnold Schoenberg in ‘Composition with Twelve Tones’ (Style and Idea, Williams & Norgate Ltd., London, p. 107):After many unsuccessful attempts during a period of approximately twelve years, I laid the foundation for a new procedure in musical construction which seemed fitted to replace those structural differentiations provided formerly by tonal harmonies. I called this procedure Method of Composing with Twelve Tones which are related only with one another.
Leopold Spinner: A List of his works
Authors: Busch Regina 
Published: February 2010

When René Leibowitz was preparing the first performance of the Piano Concerto op.4 in 1949 (it was for this occasion that Spinner made the transcription for chamber orchestra, which is the only version of the piece that is known, printed, and performed), he asked Spinner for some details about his work and himself. The answer was characteristic:…Nun schliesslich, Sie würden gerne Einzelheiten von mir wissen: Ich bin 42, habe eine Frau und ein Kind (Margaret, 6 Jahre), das ist ganz privat narürlich (aber für mich sehr wichtig, darum erwähne ich es)! Ich habe bei Webern studiert. Was ich bis jetzt geschrieben habe, fängt mit der Sonate für Violin und Klavier op.1 an, dann ein Streichquartett op.2, eine Sonate für Klavier op.3. Op.4 kennen Sie bereits.
Colin McPhee's Music: (II) ‘Tabuh-Tabuhan’
Authors: Young Douglas 
Published: February 2010

In his prefatory ‘Note’ to the full score of Tabuh-Tabuhan (eventually published by AMP Inc. 1960), McPhee wrote:Tabuh-Tabuhan was composed in Mexico in 1936 and first performed by Carlos Chavez and the National Orchestra of Mexico City. It was written after I had spent four years in Bali engaged in musical research, and is largely inspired, especially in its orchestration, by the various methods I had learned of Balinese gamelan technique. The title of the work derives from the Balinese word tabuh, originally meaning the mallet used for striking a percussion instrument, but extended to mean strike or beat… Tabuh-Tabuhan is thus a Balinese collective noun, meaning different drum rhythms, metric forms, gong punctuations, gamelans, and music essentially percussive. In a subtitle I call the work Toccata for Orchestra and two pianos.
Looking into the Mirror: Fragments from diaries, reports, and manifestos
Authors: Schwertsik Kurt 
Published: February 2010

[A selection from Schwertsik's writings was made in 1980 by Harriett Watts for a projected Tempo article, and translated by her in collaboration with Schwertsik. Even though the present expanded and updated selection is once again intended as a general introduction to the composer, it takes account of a marked change in his reputation during the past seven years: neither his detractors nor his friends from the Darmstadt era can any longer echo the ironic words with which he began one of his own poems: ‘We have lost all trace of him./His very existence remains doubtful’.below left: self-portrait by Schwertsik; below right: Schwertsik on location for Eine Reise nach Mu, a TV-film about him directed by Barrie Gavin for Hessischer Rundfunk TV, Frankfurt, in 1983.]
‘Façade’ Revisited
Authors: Driver Paul 
Published: February 2010

Facade is in need of revaluation. If it achieves it, it will have taken nearly 60 years for the proper appraisal to come about; but then this work has throughout its growth demanded long perspectives: a full 30 years, for instance, before the definitive ordering of items was settled and a published score produced; 55 before many of the original items were made known to the public. During this time numerous chroniclers sought to describe and place the extraordinary creation, but nearly all of them found in it little more than charm and precocity, a remarkable upbeat to the composer's serious achievement yet sharply to be distinguished in worth from the Symphony, the Viola Concerto. Some writers went further to disparage Façade, one of them a former editor of this journal:The desire for laughter in the concert hall is only a naughty whim which will soon pass, for music is not meant to make jokes consciously as in Façade, any more than unconsciously as in Rossini's William Tell Overture. Parody must always be as vulgar as what it parodies … When sanity is reestablished Façade will be recognised as no better Walton than the Musical Joke is good Mozart.
The Inflence of Peasant Music on Modern Music
Authors: Bartók Béla 
Published: February 2010

At the beginning of the twentieth century there was a turning point in the history of modern music.The excesses of the romanticists began to be unbearable for many. There were composers who felt: “this road does not lead us anywhere; there is no other solution but a complete break with the nineteenth century.”Invaluable help was given to this change (or let us rather call it rejuvenation) by a kind of peasant music unknown up till then.
A Children's Orchestra Goes Abroad
Authors: Russell Leslie 
Published: February 2010

The idea of young people working as a team, whether through sport, art or music is always of the greatest value, for it helps to produce concentration, “give and take”, and infectious enthusiasm. It was with this in mind that the London Schools Symphony Orchestra was formed.For more than six years London school children have listened to orchestral music—sponsored by the London County Council—played by the London Philharmonic Orchestra and conducted by myself. They have also had the opportunity of learning orchestral instruments, often free of charge and on loan, in their own schools.
Gerald Finzi - An English Composer
Authors: Russell John 
Published: February 2010

An experienced writer on musical matters recently exclaimed: “I find it very difficult to write about Finzi's music—it's all so damned simple!” One can easily see what he meant. Who, for instance, in this year of grace, would dare to risk such a line as this in a major work:This is certainly simple enough. Yet how else would one express in music Wordsworth's recollections of early childhood, the birds singing and the young lambs bounding? In the Angst of the twelve-tone system? In the “uncompromising” tight-lipped utterances of the mittel-European contemporary? It is only when we come to perform this music and hear it that we find we can do so without embarrassment.
Kodály's Later Orchestral Music (I)
Authors: Weissmann John S. 
Published: February 2010

It has often been said that the greatness of an artist depends on his relation to the legacy of previous epochs and on his attitude to the intellectual impulses of his time. His awareness of these factors, conditioned by his response towards the obligations of society, will determine the value of his own contribution.In Kodály's case investigation was hitherto centred mainly on his choral music: it is now proposed to examine his two large-scale, purely orchestral works of comparatively recent date.
Zürich Opera Premières
Authors: Reich Willi 
Published: February 2010

In giving premières of three notable contemporary works within the space of four weeks, the Zürich Stadttheater recently proved its outstanding artistic capacity.The performance of Richard Strauss's Arabella, which took place on the 21st October, was of great importance, in the first place because of Professor Rudolph Hartmann's new production, but also on account of the re-casting of the leading parts, especially the title role sung by Lisa della Casa, on whom the audience's main interest was concentrated. Her achievement was constantly compared to the magnificent performance with which Maria Cebotari triumphed at the last Zürich performance in 1946. Lisa della Casa held her own even against that dazzling memory.
Why I Write as I Do
Authors: Rorem Ned 
Published: February 2010

What can be told about music that the music itself can't tell? Only how it came to be written.It is instructive to hear what one composer says about another because, no matter how biased, he quite knows what he's talking about. It is less instructive to hear what a composer says about himself because, no matter how sincere, he doesn't quite know what he's talking about. A composer can clarify his method to others, but not his esthetic. He can tell how he wrote his piece, but not why. His why is the piece. All else is a smokescreen through which he explains what you're supposed to hear rather than what you do hear. Unless the smokescreen itself is his music.
Two Open Letters to Boris Blacher
Authors: von Einem Gottfried , Burt Francis 
Published: February 2010

Your friends and admirers throughout the world are glad to be able to celebrate your 70th birthday. During your long, delicate and difficult life you have created an oeuvre that will survive the challenges of time.I have often wondered where you get the strength from. Is it perhaps from the understanding—which came to you very early—that ultimately we humans, as individuals, live in a state of mortal detachment from the course of the universe? Your equanimity in personal affairs has astounded me just as often as your courage in public ones; and your inexhaustible good humor seems to me like a gift from the heavens.
The metabolic basis of dual periodicity of feeding in rats
Authors: Le Magnen Jacques 
Published: February 2010

AbstractThis article examines how the depletion and replenishment of various energy stores give rise to periodic eating and how constant body-energy levels are maintained over time.Measures of the energy expended throughout the 24-hour feeding pattern in rats indicate that two different energy stores (one of small capacity and one of large) determine two superimposed feeding periodicities: one from meal to meal (prandial), the other from day to night (nycthemeral). The article reviews how experimental overrepletion or overdepletion of gastrointestinal content, blood glucose, or body fats affect food intake. These data suggest that gastrointestinal content determines both meal size and meal-to-meal periodicity. Other evidence indicates that glucose uptake rate in tissues, which is modulated by fat synthesis and fat mobilization, affects the periodic onset of feeding and the difference between nocturnal and diurnal postprandial satiety.There follows an examination of the neuroendocrine bases for the interacting mechanisms governing energy input and output balance and of the role of the ventromedial hypothalamus in body-fat regulation and the lateral hypothalamus in feeding.
Measurement of sensory intensity
Authors: Warren Richard M. 
Published: February 2010

AbstractThe measurement of sensory intensity has had a long history, attracting the attention of investigators from many disciplines including physiology, psychology, physics, mathematics, philosophy, and even chemistry. While there has been a continuing doubt by some that sensation has the properties necessary for measurement, experiments designed to obtain estimates of sensory intensity have found that a general rule applies: Equal stimulus ratios produce equal sensory ratios. Theories concerning the basis for this simple psychophysical rule are discussed, with emphasis given to the physical correlate theory, which considers judgments of subjective magnitudes to be based upon estimates of physical dimensions that vary regularly with changes in degree of stimulation. For the most thoroughly investigated sensory scales, brightness and loudness, the physical correlate is considered to be distance. Our “tacit knowledge” of the sensory effects of changing distance plays an essential role in matching motor activities to environmental conditions and in ensuring accurate perceptual evaluations through brightness and loudness constancies. In psychophysical experiments, subjects apparently use this same tacit knowledge when required to estimate relative subjective magnitudes. The evidence related to the physical correlate theory is summarized, and it is concluded that, while under appropriate conditions we demonstrate considerable skill in evaluating environmental relationships, we are quite unable to estimate the neurophysiological nature or quantity of sensory response. A psychophysics devoted to studying conditions required for accuracy and conditions producing errors in the perception of environmental relationships would seem to be more valuable than one devoted to subjective magnitudes.
A multiple-level model of evolution and its implications for sociobiology
Authors: Plotkin H. C. , Odling-Smee F. J. 
Published: February 2010

AbstractThe fundamental tenet of contemporary sociobiology, namely the assumption of a single process of evolution involving the selection of genes, is critically examined. An alternative multiple-level, multiple-process model of evolution is presented which posits that the primary process that operates via selection upon the genes cannot account for certain kinds of biological phenomena, especially complex, learned, social behaviours. The primary process has evolved subsidiary evolutionary levels and processes that act to bridge the gap between genes and these complex behaviours. The subsidiary levels are development, individual animal learning, and socioculture itself. It is argued that individual learning is pivotal to the derivation and biological analysis of culture. The differences between cultural and noncultural societies are stressed. It is concluded that such a multiple-level model of evolution can form the basis for reconciling opposing sides in the sociobiology debate.
Categories, life, and thinking
Authors: Ghiselin Michael T. 
Published: February 2010

AbstractClassifying is a fundamental operation in the acquisition of knowledge. Taxonomic theory can help students of cognition, evolutionary psychology, ethology, anatomy, and sociobiology to avoid serious mistakes, both practical and theoretical. More positively, it helps in generating hypotheses useful to a wide range of disciplines. Composite wholes, such as species and societies, are “individuals” in the logical sense, and should not be treated as if they were classes. A group of analogous features is a natural kind, but a group of homologous features is not. Imposing hypotheses justified only on the basis of nominalist, realist, phenomenalist, or conceptualist metaphysics upon the neurophysiology of organisms or upon the causes of behavior exemplifies the “psychologist's fallacy” of William James. Levels should be distinguished from their members and from classes of levels, and the ontological status of entities ranked at levels should be made clear. It is important not to confuse such categories as substance and process with one another. Several genetical terms, such as “gene” and chromosome,” are even more equivocal than has been realized. Discussions about units of selection, behavior, and thinking suffer from the ambiguity of a “unit of” an entity. An important source of misunderstanding about natural selection is the habit of treating it as an “agent”: in an important sense, natural selection does not “act” at all.
How are grammers represented?
Authors: Stabler Edward P. 
Published: February 2010

AbstractNoam Chomsky and other linguists and psychologists have suggested that human linguistic behavior is somehow governed by a mental representation of a transformational grammar. Challenges to this controversial claim have often been met by invoking an explicitly computational perspective: It makes perfect sense to suppose that a grammar could be represented in the memory of a computational device and that this grammar could govern the device's use of a language. This paper urges, however, that the claim that humans are such a device is unsupported and that it seems unlikely that linguists and psychologists really want to claim any such thing. Evidence for the linguists' original claim is drawn from three main sources: the explanation of language comprehension and other linguistic abilities; evidence for formal properties of the rules of the grammar; and the explanation of language acquisition. It is argued in this paper that none of these sources provides support for the view that the grammar governs language processing in something like the way a program governs the operation of a programmed machine. The computational approach, on the contrary, suggests ways in which linguistic abilities can be explained without the attribution of any explicit representation of rules governing linguistic behavior.