bluuebunny/crossref_metadata_2025_split huggingface dataset:
Impact of Nasal Obstruction on Obstructive Sleep Apnea
Authors: Friedman Michael , Maley Alexander , Kelley Kanwar , Leesman Chris , Patel Akshay , Pulver Tanya , Joseph Ninos , Catli Tolgahan 
Published: March 2011

ObjectivesThe purpose of this study was to investigate the relationship between nasal obstruction and sleep‐disordered breathing. The effect of postoperative nasal packing on sleep parameters was compared between patients with mild obstructive sleep apnea (OSA) and those with moderate/severe OSA.Study DesignA prospective, nonrandomized controlled study.SettingTertiary care center.Subjects and MethodsParticipants were recruited among adult patients with a history of snoring scheduled to undergo nasal surgery from November 2009 to February 2010. All subjects underwent polysomnogram (PSG) testing within 30 days prior to surgery. Patients underwent nasal surgery and received postoperative nasal packing, and a PSG was repeated on the first postoperative night with nasal packing in place. Outcome measures included a change in respiratory disturbance index (RDI), minimum oxygen saturation, oxygen desaturation index (ODI), and duration of snoring.ResultsForty‐nine patients were included in the study. Patients were stratified into 2 groups: those with RDI ≥15 (n = 23) and those with RDI <15 (n = 26). Nasal packing was found to significantly increase RDI (5.2 ± 4.0 vs 10.4 ± 10.0; P =. 0001), duration of snoring (86.5% ± 13.1% vs 79.3% ± 15.3%; P =. 008), and ODI (7.6 ± 7.1 vs 9.9 ± 7.4; P =. 001) in patients with mild OSA but not in patients with moderate/severe OSA. Mean minimum arterial oxygen saturation was unchanged in both groups.ConclusionPostoperative nasal packing aggravated measures of OSA in patients with mild OSA but not in patients with moderate/severe OSA.
Physical and Computational Modeling of Ventilation of the Maxillary Sinus
Authors: Rennie Catherine E. , Hood Christina M. , Blenke Esther J. S. M. , Schroter Robert S. , Doorly Denis J. , Jones Hazel , Towey David , Tolley Neil S. 
Published: March 2011

ObjectiveSinus ventilation is often associated with sinusitis, a common condition causing significant pain and reduced quality of life. Clinical implications of the diverse anatomy of ostia connecting sinus to nose and the efficacy of surgical intervention in chronic sinusitis are poorly understood. This study aimed to measure sinus ventilation and explore variables in physical and mathematical models.Study Designγ‐Scintigraphy of krypton 81m (81mKr) was carried out in a stylized physical model of a human maxillary sinus. Computational simulations matched this model for validation and extrapolated to combinations of variables not possible experimentally for evaluation of transport mechanisms.SettingResearch laboratory in Department of Aeronautics. Imperial College London, and Department of Nuclear Medicine, Hammersmith Hospital, London.Methods81mKr distribution was measured with both single‐ and double‐ostia sinuses. Computational simulations matched and extended the physical measurements and enabled separate identification and evaluation of transport mechanisms.ResultsThe presence of an additional ostium resulted in a 50‐fold increase in the effective volume flow rate of gas replacement in the sinus. In the case of a single ostium, doubling the ostial diameter doubled the effective volume flow rate of gas exchange.Conclusionγ‐Scintigraphy of 81mKr enables quantitative assessment of effective volume flow rate in physical model sinuses. These flow rates obtained experimentally for single‐ and double‐ostium sinuses match the computational predictions of matching geometries. The increased ventilation seen with an additional ostium or increased ostial diameters may not be clinically beneficial, because it could reduce nitric oxide concentration in the sinus.
Osteochondral Transplantation of the Talus
Authors: Imhoff Andreas B. , Paul Jochen , Ottinger Benjamin , Wörtler Klaus , Lämmle Lena , Spang Jeffrey , Hinterwimmer Stefan 
Published: March 2011

Background: Osteochondral lesions of the ankle are a common injury after ankle sprains, especially in young and active patients. The Osteochondral Autograft Transfer System (OATS) is the only 1-step surgical technique designed to replace the entire osteochondral unit. Purpose: This study was conducted to evaluate the long-term clinical and radiographic outcomes of the OATS procedure for the talus and compare the results of patients who have had prior surgical interventions with patients for whom OATS represents the primary surgical treatment. Study Design: Case series; Level of evidence, 4. Methods: The authors retrospectively analyzed 26 talus OATS procedures (25 patients) with an average follow-up of 84 months (range, 53-124 months); 9 patients had OATS as a second surgical intervention. The patients completed the American Orthopaedic Foot & Ankle Society (AOFAS) and Tegner scores plus the visual analog scale (VAS) preoperatively and at follow-up. Magnetic resonance imaging examinations were conducted on a 1.5-T whole-body magnet that assessed transplant congruency, adjacent surface of the talus, the corresponding distal tibia, and joint effusion. Results: The authors found significant increases for the AOFAS score (50 to 78 points, P < .01) and the Tegner score (3.1 to 3.7, P < .05) and a significant decrease for the VAS (7.8 to 1.5, P < .01) from preoperative to postoperative. Patients with normal integration or minor incongruity of the transplant on magnetic resonance imaging (81%) had significantly better AOFAS scores ( P = .03). Other magnetic resonance imaging criteria did not predict clinical results. Patients for whom OATS represented a second procedure had significantly worse clinical AOFAS and Tegner scores plus a higher VAS. Conclusion: Long-term clinical and magnetic resonance imaging results after osteochondral transplantation are good and patients significantly benefit from this surgery. Magnetic resonance imaging should not be a routine control but appears to be indicated when clinical symptoms persist after osteochondral transplantation.
Alibis, and why performers don't have them
Authors: Gritten Anthony 
Published: March 2011

Musical performers confront, deal with, and participate in musical “events”. These musical events present the performer with a number of obligations to uphold. One particular kind of obligation precedes and overrides the other kinds of (aesthetic) obligation — compositional, historical, critical-interpretative, physiological, for example — and lies at the root of the “contingencies”, “illusions”, and “anxieties” of which performers and commentators often speak. In this essay I illustrate the nature of this non-foundational obligation through a meditation on a concept of Bakhtin's: the “alibi”. All imperatives command either hypothetically or categorically. Kant
Understanding our experience of music: What kind of psychology do we need?
Authors: Allesch Christian G. , Krakauer Peter M. 
Published: March 2011

Background in the psychology of music The historical development of the psychology of music largely followed that of psychology in general. In the 20th century it adopted the research methods and interests of cognitive psychology and more recently has turned to new interdisciplinary connections with psychobiology and the neurosciences. There remains, however, a certain inadequacy regarding work in the psychology of music and cultural psychology and as well of interpretative research aimed at interpreting the role of music in those processes, processes Bruner called “the nature and cultural shaping of meaning-making, and the central place it plays in human action”. Background in historical musicology and cultural anthropology Historical musicology and cultural anthropology maintain that experiencing and understanding music represents a process fundamentally dependent upon cultural context. This begs the question as to how cultural context influences social and individual representations of music in the sense that a particular “style of aesthetic experience” typifies a historical period. Although this is a genuine psychological question, it cannot be answered by a psychology which is restricted to “ahistorical” explanations of information processing. Thus from a cultural anthropological perspective there is strong interest in any kind of “cultural psychology” which is able to conceptualise the dynamic interactions between culturally determined “social representations” of music and the individual mind. Goals We argue for a “cultural turn” in the psychology of music. Following developments within psychology, research over recent decades in the psychology of music has concentrated on neuro-cognition while cultural aspects have been underestimated — as they continue to be in psychology in general. Conclusions An important task for an interdisciplinary framework that wishes to include the cultural sciences and psychology should be to review recent cultural psychological theories to assess their implications for a psychological theory of music. As examples we use Ernst E. Boesch's Symbolic Action Theory which explicitly refers to the role of aesthetic experience in cultural contexts and Alfred Lang's “semiotic ecology” which provides an appropriate model for conceptualising the complex relations between the development of cultural patterns and the development of related individual representations.
A comparison of automated methods for the analysis of style in fifteenth-century song intabulations
Authors: Jürgensen Frauke , Knopke Ian 
Published: March 2011

Background in historical musicology A repertory of several thousand secular songs survives from the fifteenth century. Much of it is not attributed to any particular author, and frequently, even the approximate place of origin is uncertain. For us, the origin of a piece is a concern, so that we can better chart the development of musical style. Researchers have tried many approaches to attribution, or to style-classification in a broader sense: manuscript studies of all descriptions, studies of structural elements such as cadence degrees, ornamental style, elements of melodic behaviour such as contour, favoured intervals, and prevalence of leaps; dissonance treatment, and others. However, a comprehensive analysis of all these elements in a sufficiently large body of pieces is too time-consuming for one person to do by hand. Background in music information retrieval Information technology has made it possible to analyze large amounts of data in a reduced timespan, as compared to traditional methods. While this capability has been available for some time, the analysis of multiple musical works by computer is still relatively unexplored in music theory. Modern classification techniques require the extraction of features from sets of data, which are then resolved using higher level constructions. Aims To detail an approach and toolset for feature-set-based analysis of musical works of the fifteenth century as applied to the Buxheim Organ Book, to show some initial results, and to suggest further avenues for musicological exploration of the Buxheim Organ Book and related repertoire. Main contribution Several hundred intabulations of secular songs from the Buxheim Organ Book (ca. 1450–1470) have been analysed to produce individual sets of approximately fifty features using the Humdrum toolkit, as well as specially-constructed software tools. Some of these were general statistical features and others were features commonly examined in style studies of the mid-fifteenth-century secular song repertoire. This paper focuses on details of the initial tools developed for this project, some overall properties of the entire Buxheim set, and their relationship to previous music-theoretical work on the subject. Implications While some researchers have developed useful automated tools for musical analysis, these have rarely been combined with detailed musicological study of earlier repertories. Applying multiple automated tests to a single body of music gives musicologists an opportunity to compare the effectiveness and usefulness of such tools for specific tasks. Solutions specific to the analysis of the chosen repertory have been proposed, and the large-scale results will allow us re-evaluate existing musicological ideas about these pieces.
Teamgeist im Orchester: Das Zusammenspiel zwischen Flow und Führung
Authors: Boerner Sabine , Von Streit Christian Freiherr 
Published: March 2011

Zusammenfassung Der Beitrag untersucht Bedingungen und Effekte eines kooperativen Klimas unter den Musikern eines Symphonieorchesters. Ein kooperatives Klima, d.h. gegenseitige Wertschätzung und Zusammenhalt der Orchestermusiker, verbessert die Zusammenarbeit im Orchester und daher die künstlerische Qualität der Aufführungen. Als Bedingungen für ein kooperatives Klima im Orchester werden eine hohe intrinsische Motivation der Orchestermusiker und eine transformationale Führung durch den Dirigenten angenommen. Eine empirische Untersuchung von 208 Musikern aus 22 deutschen Orchestern bestätigt den angenommenen qualitätssteigernden Effekt des kooperativen Klimas unter den Musikern. Darüber hinaus zeigt sich ein Interaktionseffekt von transformationaler Führung des Dirigenten und intrinsischer Motivation der Musiker auf das kooperative Klima im Orchester: Eine Steigerung des kooperativen Klimas im Orchester ist somit nicht durch die isolierte Wirkung einer transformationalen Führung des Dirigenten oder intrinsischer Motivation der Musiker zu erwarten, sondern nur durch ihre Kombination. Aus den Befunden werden Schlussfolgerungen für die Praxis des Musizierens im Orchester gezogen.
Social dimensions of melodic identity, cognition, and association
Authors: Selfridge-Field Eleanor 
Published: March 2011

While music researchers are interested in developing tools for automatically culling related melodies and psychologists seek a clearer understanding of how people learn, recognize, and remember melodies, musicological and ethnomusicological studies offer numerous studies of tune families. Tune families cohere, it seems, partly on the basis of cultural agreement. Melodies seem to be similar if people say they are. Are there particular musical characteristics which are favored in the formation and cohesion of family members? Music scholars have been investigating this question for a half century. As their investigations have accrued, respect for complexity of melody and the many ways in which two melodies can be the same or different has increased proportionally. This study examines five tune families and evaluates selected members of each according to a previously proposed cognitive-distance measure. Concordances and cases of musical divergence in the context of claimed relatedness are evaluated in relation to collection-formation types, melodic types, and transmission methods (printed, oral, both). Neither hand-picked members of families nor those culled by title preservation necessarily show a high degree of musical coherence. However, among the families chosen, the predominance of pieces originally associated with dancing is conspicuous. This suggests that even when contour and other features vary, lengthy rhythmic patterns may underlie the social identity of “melodic” similarity.
Transportation distances and human perception of melodic similarity
Authors: Typke Rainer , Wiering Frans , Veltkamp Remco C. 
Published: March 2011

This article describes how transportation distances such as the Earth Mover's Distance can be used for measuring melodic similarity for notated music. We represent music notation as weighted point sets in a two-dimensional space of onset time and pitch. The Earth Mover's Distance can then be used for comparing point sets by determining how much work it would take to convert one of the point sets into the other by moving weight between the point sets. For evaluating how well this method and other methods agree with human perception of melodic similarity, we established a ground truth for the RISM A/II collection based on the opinions of human experts. The RISM A/II collection contains about half a million musical incipits. For 22 queries, we filtered the collection so that about 50 candidates per query were left, each of which we then presented to about 30 human experts (out of a group of 37 experts) for a final ranking. We present our filtering methods, the experiment design, the resulting ground truth, and a new measure (called “Average Dynamic Recall”) that can be used for comparing different similarity measures with the ground truth.
Der Singstreit in humanethologischer Perspektive
Authors: Lehmann Christian , Welker Lorenz , Schiefenhövel Und Wulf 
Published: March 2011

Der Singstreit in humanethologischer Perspektive Traditionen gesungener Wortgefechte sind von zahlreichen voneinander unabhängigen Kulturen in der ganzen Welt bekannt. Ethnographische Quellen über mehr als 20 Singstreit-Traditionen, unter anderem auch moderne subkulturelle Phänomene, wurden auf Form und Funktion der Praktiken untersucht. Die beobachteten Singstreite weisen eine Reihe gemeinsamer Merkmale auf: Eine große Mehrheit der Praktiken werden fast ausschließlich von Männern ausgeführt, folgen strengen formalen Regeln, implizieren Status und Belohnung und dienen als Mittel der Aggressionskontrolle und Konfliktlösung bis hin zur etablierten Gerichtsbarkeit. Der Singstreit ist für die Teilnehmer kostspielig und riskant und kann daher als ”honest signalling” im Sinne von Zahavis ”Handicap-Prinzip” verstanden werden. Die Charakteristika des Singstreits entsprechen den verhaltensbiologischen Kriterien des Turnierkampfes: ein ritualisiertes Duell männlicher Artgenossen, eine adaptive Verhaltensstrategie im Zusammenhang mit sexueller Selektion und Rang, bei der durch regelhafte Abfolge schwere körperliche Beschädigungen vermieden werden. Die kulturübergreifende ähnlichkeit der Singstreit-Praktiken lässt vermuten, dass es sich hier um ein ererbtes Muster einer musikalischen Kommunikationsstrategie handelt. Die Traditionen verblassen mit zunehmender Zivilisation, können jedoch auch in urbanen Subkulturen (Rap) in ähnlicher Form neu entstehen. Wir folgern, dass (a) Funktionen musikalischen Verhaltens im intrasexuellen Wettbewerb und (b) Gesang als hoch-ritualisierter Modus der verbalen Kommunikation im Dienste von Aggressionskontrolle und sozialer Stabilität wesentlich zur Evolution kognitiver und performativer musikalischer Fähigkeiten des Menschen beigetragen haben.
The evolutionary nature of musical meaning
Authors: Cross Ian 
Published: March 2011

The paper will draw on ethnomusicological, cognitive and neuroscientific evidence in suggesting that music and language constitute complementary components of the human communicative toolkit. It will start by outlining an operational definition of music as a mode of social interaction in terms of its generic, cross-cultural properties that facilitates comparison with language as a universal human faculty. It will argue that, despite the fact that music appears much more heterogeneous and differentiated in function from culture to culture than does language, music possesses common attributes across cultures: it exploits the human capacity to entrain to external (particularly social) stimuli, and presents a rich set of semantic fields while under-determining meaning. While language is held to possess both combinatoriality and semanticity, music is often claimed to be combinatorial but to lack semanticity. This paper will argue that music has semanticity, but that this semanticity is adapted for a different function from that of language. Music exploits the human capacity for entrainment, increasing the likelihood that participants will experience a sense of ‘shared intentionality’. It presents the characteristics of an ‘honest signal’ while under-specifying goals in ways that permit individuals to interact even while holding to personal interpretations of goals and meanings that may actually be in conflict. Music allows participants to explore the prospective consequences of their actions and attitudes towards others within a temporal framework that promotes the alignment of participants’ sense of goals. As a generic human faculty music thus provides a medium that is adapted to situations of social uncertainty, a medium by means of which a capacity for flexible social interaction can be explored and reinforced. It will be argued that a faculty for music is likely to have been exaptive in the evolution of the human capacity for complex social interaction.
Some parallels between language and music from a cognitive and evolutionary perspective
Authors: Fenk-Oczlon Gertraud , Fenk August 
Published: March 2011

Parallels between language and music are considered as a useful basis for examining possible evolutionary pathways of these achievements. Such parallels become apparent if we compare clauses and syllables in language with phrases and notes in music: Clauses as well as musical phrases typically span about 2 sec and about 5 to 10 pulses, i.e. syllables or notes. The n of syllables per clause or intonation unit also can be used as a measure of tempo across languages and thus also as a means for a better understanding of typological co-variations in the rhythm of speech and music. Further correspondences were found between the size of the sound-relevant inventories, i.e. vowels and musical intervals: a minimum of roughly 3 and a maximum of roughly 12 elements as well as a frequency peak at 5 elements. A link between vowels and musical intervals is also indicated by our findings that in Alpine yodellers the vowels are highly correlated to melodic direction according to their F2 ordering. These parallels are discussed from an evolutionary perspective that either sees music as a precursor of language or both language and music as descendents of a common, “half-musical” precursor (Jespersen, 1895; Brown, 2000). A rather simple explanation of the parallels is reported: If singing in a broader sense of the word is the most original form of music, then the functionality of any mechanism involved in the programming and the online-control of intonation units will be reflected in language as well as in music.
From great man to fittest survivor: Reputation, recapitulation and survival in Victorian concepts of Wagner's genius
Authors: Zon Bennett 
Published: March 2011

The transposition of the Great Man into the Fittest Survivor is at the very root of an endemic interchange between the sciences and the arts in late Victorian culture, giving rich metaphoric substance to more heavily concretised scientific terminology. Herbert Spencer's famous phrase, “survival of the fittest” is, arguably, one of the most commonly transposed and consequently influential scientific expressions of the Victorian period, and as such, one of its most malleable idioms. In Victorian musicology this influence is especially obvious in biographical works which privilege Richard Wagner as the greatest genius of musical history. Thus in Mezzotints in Modern Music (1899) James Huneker declares that “Wagner carried within his breast the precious eucharist of genius. ” It is the attitude of Huneker and like-minded musicologists, like C. Hubert H. Parry, William Wallace, Francis Hueffer and Richard Wallaschek, which forms the basis of a three-part exploration of Wagner's genius, covering (1) the role of “endurance” in Victorian definitions of genius, from Carlyle and Sully to Galton; (2) the influence of German morphology on evolutionary terminology in Britain, with particular reference to ontogeny, phylogeny and recapitulation; and (3) Spencer's adaptation of German morphology and his influence on Victorian perceptions of Wagner's genius. These collectively argue through the paradigm of Wagner that the formulation of late Victorian musical genius was incomplete without recourse to evolutionary terminology of survival. Indeed, for Victorian musicology, Wagner, the Great Man, had evolved Into Wagner, the Fittest Survivor.