bluuebunny/crossref_metadata_2025_split huggingface dataset:
Association Between Acute Statin Therapy, Survival, and Improved Functional Outcome After Ischemic Stroke
Authors: Ní Chróinín Danielle , Callaly Elizabeth L. , Duggan Joseph , Merwick Áine , Hannon Niamh , Sheehan Órla , Marnane Michael , Horgan Gillian , Williams Emma B. , Harris Dawn , Kyne Lorraine , McCormack Patricia M.E. , Moroney Joan , Grant Tim , Williams David , Daly Leslie , Kelly Peter J. 
Published: March 2011

Background and Purpose—
Statins improve infarct volume and neurological outcome in animal stroke models. We investigated the relationship between statin therapy and ischemic stroke outcome in the North Dublin Population Stroke Study.

Methods—
A population-based prospective cohort study was performed using rigorous ascertainment methods. Prestroke and acute (≤72 hours) poststroke medications were recorded. Modified Rankin score and fatality were assessed at 7, 28, and 90 days and 1 year.

Results—

Of 448 ischemic stroke patients, statins were prescribed before stroke onset in 30.1% (134/445) and were begun acutely (≤72 hours) in an additional 42.5% (189/445). On logistic regression analysis, adjusting for age, prestroke disability (modified Rankin scale), NIHSS score, hypertension, and aspirin, new poststroke statin therapy was independently associated with improved early and late survival (compared with statin untreated patients: OR for death, 0.12; CI, 0.03–0.54 at 7 days; OR, 0.19; CI, 0.07–0.48 at 90 days; OR, 0.26; CI, 0.12–0.55 at 1 year;
P
≤0.006 for all). Similar findings were observed for statin therapy before stroke onset (adjusted OR for death compared with statin-untreated-patients, 0.04; CI, 0.00–0.33;
P
=0.003 at 7 days; OR, 0.23; CI, 0.09–0.58;
P
=0.002 at 90 days; OR, 0.48; CI, 0.23–1.01;
P
=0.05 at 1 year).

Conclusions—
Statin therapy at stroke onset and newly begun statins were associated with improved early and late outcomes, supporting data from experimental studies. Randomized trials of statin therapy for treatment of acute stroke are needed.
Influence of Continuous Positive Airway Pressure on Outcomes of Rehabilitation in Stroke Patients With Obstructive Sleep Apnea
Authors: Ryan Clodagh M. , Bayley Mark , Green Robin , Murray Brian J. , Bradley T. Douglas 
Published: March 2011

Background and Purpose—
In stroke patients, obstructive sleep apnea (OSA) is associated with poorer functional outcomes than in those without OSA. We hypothesized that treatment of OSA by continuous positive airway pressure (CPAP) in stroke patients would enhance motor, functional, and neurocognitive recovery.

Methods—
This was a randomized, open label, parallel group trial with blind assessment of outcomes performed in stroke patients with OSA in a stroke rehabilitation unit. Patients were assigned to standard rehabilitation alone (control group) or to CPAP (CPAP group). The primary outcomes were the Canadian Neurological scale, the 6-minute walk test distance, sustained attention response test, and the digit or spatial span-backward. Secondary outcomes included Epworth Sleepiness scale, Stanford Sleepiness scale, Functional Independence measure, Chedoke McMaster Stroke assessment, neurocognitive function, and Beck depression inventory. Tests were performed at baseline and 1 month later.

Results—

Patients assigned to CPAP (n=22) experienced no adverse events. Regarding primary outcomes, compared to the control group (n=22), the CPAP group experienced improvement in stroke-related impairment (Canadian Neurological scale score,
P
<0.001) but not in 6-minute walk test distance, sustained attention response test, or digit or spatial span-backward. Regarding secondary outcomes, the CPAP group experienced improvements in the Epworth Sleepiness scale (
P
<0.001), motor component of the Functional Independence measure (
P
=0.05), Chedoke-McMaster Stroke assessment of upper and lower limb motor recovery test of the leg (
P
=0.001), and the affective component of depression (
P
=0.006), but not neurocognitive function.

Conclusions—
Treatment of OSA by CPAP in stroke patients undergoing rehabilitation improved functional and motor, but not neurocognitive outcomes.

Clinical Trial Registration Information—

URL:
http://www.clinicaltrials.gov
. Unique identifier: NCT00221065.
The Generation and Evolution of Nonlinear Internal Waves in the Deep Basin of the South China Sea
Authors: Li Qiang , Farmer David M. 
Published: March 2011

Abstract
Time series observations of nonlinear internal waves in the deep basin of the South China Sea are used to evaluate mechanisms for their generation and evolution. Internal tides are generated by tidal currents over ridges in Luzon Strait and steepen as they travel west, subsequently generating high-frequency nonlinear waves. Although nonlinear internal waves appear repeatedly on the western slopes of the South China Sea, their appearance in the deep basin is intermittent and more closely related to the amplitude of the semidiurnal than the predominant diurnal tidal current in Luzon Strait. As the internal tide propagates westward, it evolves under the influence of nonlinearity, rotation, and nonhydrostatic dispersion. The interaction between nonlinearity and rotation transforms the internal tide into a parabolic or corner shape. A fully nonlinear two-layer internal wave model explains the observed characteristics of internal tide evolution in the deep basin for different representative forcing conditions and allows assessment of differences between the fully and weakly nonlinear descriptions. Matching this model to a wave generation solution for representative topography in Luzon Strait leads to predictions in the deep basin consistent with observations. Separation of the eastern and western ridges is close to the internal semidiurnal tidal wavelength, contributing to intensification of the westward propagating semidiurnal component. Doppler effects of internal tide generation, when combined with a steady background flow, suggest an explanation for the apparent suppression of nonlinear wave generation during periods of westward intrusion of the Kuroshio.
Young children confronting the Continuator, an interactive reflective musical system
Authors: Addessi Anna Rita , Pachet François 
Published: March 2011

Background in music education The present study deals with various the interaction between children and musical machines. One of the principal aims is to understand how the use of interactive musical systems can affect the learning and the musical creativity of children and more especially of younger children (3 to 5 years old). Background in artificial intelligence An innovative system was conceived at the Sony CSL in Paris which is able to produce music in the same style as the person playing the keyboard. The name chosen for this machine is the Continuator. Its basic design is that of Interactive Reflective systems where the core concept is to teach musical processes indirectly by putting the user in a situation where learning takes place through the actual interaction between the user and the system. Aims The aim of the study is to understand in what way the children relate to this particular interactive musical system, what kinds of musical and relational behaviours are developed, and how interactive reflective systems can be used in the educational field to stimulate creativity and the pleasure of playing. Method The study involved 27 children aged 3 to 5 years, in a kindergarten in Bologna (Italy). Three sessions were held once a day for 3 consecutive days. In every session, the children were asked to play on the keyboard in 4 different situations: with the keyboard alone, with the keyboard connected to the Continuator, with another child, and with another child and the Continuator. Results The present paper reports the observation of three particular aspects: the emergence of a life cycle of interaction, moving from initial surprise, to phases featuring excitement, analytical behaviour and invention; the fact that the two tasks involving the system gave rise to the longest attention span characterized by strong intrinsic motivation and joint attention; the varied nature of the listening behaviours. Conclusion The results show how an interactive reflective system such as the Continuator can develop interesting child/computer interaction and promote creative musical behaviours in young children. This outcome points to the considerable potential offered by the association between the disciplines of music education and artificial intelligence.
Patterns of modernization in Turkish music as indicators of a changing society
Authors: Ergur Ali , Aydin Yiğit 
Published: March 2011

Background in sociology Turkish society has experienced a profound transformation since the late eighteenth century, that has stimulated an extensive social change in which traditional modes of cultural expression have been restructured throughout capitalistic standardizations. This simplification is also observable in the structural transformation of traditional Turkish music. In fact, musical rationalization encodes the logic of an entire phase of modernization. Background in ethnomusicology The sound system of traditional Turkish music differs substantially from the Western one which became universally valid. Traditional Turkish music theory necessitates a sufficiently refined and non-Western musical perception. However, during the last two centuries this perceptual affinity has been slowly abolished through the standardizing process of modernity, which realizes in effect a hidden temperament within the traditional sound system. Aims We aim to analyze the main features of rationalization in Turkish music, through the change of its expressive specificities, as representation of a sociological transformation. Main contribution Music is one of the most symbolic domains, in which symptoms of a rationalization process can be observed. Our study tries to demonstrate the progressive proliferation of a process of rationalization. Traditional and Westernized sound systems and performances have always been conceptualized as deeply separated spheres, even as antagonistically polarized hermetical spheres which possess their specific audience, expressive instruments, discourse, etc. Conversely, we also deduce that the actual phase of musical rationalization in Turkey has attained such a degree that the artificially fragmented nature of musical genres are being melted in a technical and stylistic fusion. Implications In nearly all of the sociological studies on Turkish music, the ontological specificities of music are underestimated, while developing deductions from music itself. In the case of ethnomusicological researches on the same subject, musical phenomena are usually isolated from their sociological context. Opposing such prevailing considerations both in sociology and ethnomusicology, the present study may help to inaugurate, in a totally unexplored domain, an alternate path through which the artificially divided musical spheres of the Turkish cultural context can be reevaluated as different aspects of an identical comprehensive modernization process.
Plane isometries in the music and art of Mikalojus Konstantinas Ciurlionis
Authors: Holm-Hudson Kevin J. , Kucinskas Darius 
Published: March 2011

Background in art history In the early twentieth century, numerous composers and artists — including Scriabin, Schoenberg, and Kandinsky — explored connections between music and visual art. Even so, Lithuanian artist-composer Mikalojus Konstantinas Ciurlionis (1875–1911) stands apart in the extent of his formal training in both areas, and the degree to which he believed the two media interpenetrated. Initially trained as a musician, Ciurlionis studied painting at the Warsaw School of Fine Arts from 1904 through 1906. Between 1907 and 1909 he aimed at synthesis of the arts with paintings often analogous to musical forms (for example, the four-painting Sonata of the Sun). Some scholars have linked Ciurlionis to symbolism; others have linked him to abstraction. Still others have examined musical metaphor in Ciurlionis's painting. Background in music theory As Ciurlionis's involvement in painting deepened, his music changed to emphasize intersecting lines and a preoccupation with isometry, suggesting increasingly literal translation of visual principles into musical notation. Each of the four visual plane isometries (rotational symmetry, reflection, translation, and glide reflection) has its musical counterpart, giving rise to various theories of musical isometry (cf. David Lewin and Ernö Lendvai). Aims The authors show how Ciurlionis's creative process in his music was influenced by visual principles. Main contribution Ciurlionis's posthumous fame was as an artist until publication of his music began in 1957. Since then, although several Lithuanian scholars have analysed his music, scholars outside Lithuania have focused on his paintings. The extent to which Ciurlionis's newly discovered “visual thought” of 1904–1906 permeated his music during those years and thereafter has scarcely been examined. Implications By examining the structural similarity of Ciurlionis's different artistic media, one is able to uncover the deeper unity of his artistic expression. Examination of some of the distinctive tendencies of Ciurlionis's art manifested in his music yields a deeper understanding of his unique creative process.
Stellar acoustics as input for music composition
Authors: Kolláth Zoltán , Keuler Jen O. 
Published: March 2011

Background in acoustics Variable stars show light variations due to internal acoustic waves. There are strong physical mathematical parallels between stellar behaviour and musical instruments: the basic principles underlying their “overtone” frequencies are identical. However, “stellar instruments” have many characteristics that make their sounds different from ordinary musical instruments. Background in theory/composition Many composers have incorporated inharmonic spectra into their music. Computer technology now enables us to control inharmonic sound processes and deal with associated theoretical implications. Drawing stellar acoustics into the orbit of music fits in well with this trend in compositional practice. Aims Our main aim is to demonstrate that sounds designed according to the principles of stellar physics and the nature of the processes inside stars can be used as a new basis for music composition, theoretical reasoning, and aesthetic evaluation. Main contribution Both cosmic and musical events are determined by the temporal and hierarchical order of events, states and processes. Acoustic models of variable stars predict unusual patterns of “overtones” and variations in these patterns as the stars evolve. Due to the enormous size of stars, their oscillatory frequencies are orders of magnitudes lower than the audible range; therefore we should transpose those oscillations to the range of human hearing. However, the frequency range of possible stellar oscillations is much wider than the musical range, indicating a need for nesting points. These questions provide an interesting starting point for a cosmically inspired music theory. We developed a C-sound based computer application, to make the compositional experiments manageable. Implications In our research, we combine scientific and artistic approaches and ways of thinking. Astrophysicists can investigate the special modes of vibration in stars of diverse size and inner structure, present possible sound sets that “celestial instruments” might offer, and provide information on their acoustic spectra. Composers can then scrutinize the audible features of these sonances, their behavior in diverse musical contexts, their aptness for creating tonal tensions, and their suitability for creating expressive musical structures. These points are illustrated with reference to the authors’ Stellar Music No. 1.
Einflüsse von Modalität und Tempo auf die Wahrnehmung musikalischer Affekte bei Kindern und Erwachsenen: Eine Replikationsstudie
Authors: Kreutz Gunter , Schonk Christina , Upano Leonardo 
Published: March 2011

Zusammenfassung Dalla Bella, Peretz, Rousseau & Gosselin (2001) berichteten, dass Kinder im Alter von fünf Jahren hauptsächlich das Tempo eines Musikstückes (schnell/langsam) nutzen, um den „fröhlichen” oder „traurigen” Affekt eines Musikstückes zu beurteilen, während bei älteren Kindern auch die Modalität (Dur/Moll) das Affekturteil beeinflusst. Zwei Experimente wurden unternommen, um diese Beobachtungen zu überprüfen. Gruppen von fünfjährigen und sechs- bis achtjährigen Kindern mit wenigstens einjähriger Erfahrung in musikalischer Früherziehung sowie erwachsenen Kontrollpersonen mit musikalischer Vorbildung (Musikstudenten) beurteilten jeweils den „fröhlichen” oder „traurigen” Affekt in klassischen Melodien (Experiment 1) sowie eigens komponierten musikalischen Materialien (Experiment 2). Die Ergebnisse zeigen, dass sich musikalisches Training auf die Wahrnehmung von Modalität und Tempo im Affekturteil schon bei fünfjährigen Kindern auswirkt. Implikationen für das Design longitudinaler Studien und die Notwendigkeit eingehender Untersuchungen individueller Unterschiede werden diskutiert.
Themes as prototypes: Similarity judgments and categorization tasks in musical contexts
Authors: Ziv Naomi , Eitan Zohar 
Published: March 2011

Similarity judgments and corresponding categorizations often differ, as the former does not predict the latter (Keil, 1989). Prototype-based models suggest that categorization emphasizes features which distinguish contrasting prototypes from each other, features which may have a lesser role in free similarity ratings (Medin, Goldstone & Gentner, 1993; Rosch, 1988). We studied this effect in musical contexts, examining how specifying contrasting musical themes as frames of reference affects listeners’ categorizations of other extracts in the same composition, and comparing categorizations with corresponding similarity judgments. Musical materials employed in Lamont & Dibben's similarity rating experiment (2001), extracted from piano pieces by Beethoven and Schoenberg, were used. Participants independently marked, for each piece, to what degree extracts “belong” to each of its two main themes. These categorizations were compared with similarity ratings in the above study and with published thematic analyses of the 2 pieces, and were correlated with combinations of diverse musical features of the themes. Categorizations concurred with similarity ratings for Beethoven, and differed for Schoenberg. However, despite participants’ independent ratings of affiliations with the two themes, in both pieces categorizations, unlike similarity ratings, were negatively correlated: the stronger an extract's affiliation with a theme, the weaker its affiliation with a contrasting theme. This effect resulted in some dramatic disparities between similarity ratings and corresponding categorizations. In addition, correlating listeners’ categorizations with musical features generated a graded category structure, where an extract's affiliation with a theme correlated with the number of distinctive surface features it shared with this theme. We suggest that musical themes serve as concrete prototypes for other events in the piece. Presenting contrasting themes emphasizes their distinctive features, thus creating an intraopus field of similarities and differences which characterizes the piece. Within that field, rival prototypes, represented by the main themes, compete to add incoming events to their sphere.
Melodic similarity as a determinant of melody structure
Authors: Ahlbäck Sven 
Published: March 2011

This paper presents an approach to the analysis of melodic similarity as a determinant of melody structure, which has been applied successfully as a computational system of analysis for the prediction of segmental structure in a large sample of monophonic melodies of diverse cultural origin. (Ahlbäck 2004) Although the impact of similarity in the determination of segmental structure in music is generally acknowledged, methods based on similarity have been criticized with regards to the difficulty of formalizing criteria and threshold values for structurally significant similarity (e.g. Cook 1987). It is herein maintained that, since similarity is a fundamentally relative concept and categorization of similarity and difference relates to a given context, segmentation based on similarity requires a context-sensitive parametric measure of similarity. The proposed method of analysis is based on common psychological principles such as gestalt psychological principles, human perceptual and cognitive limitations regarding temporal frames of attention, simultaneous category handling and cognition of temporal proportions. The core hypothesis of the model is that melodic segmentation at a structural level is primarily established by similarity, in particular repetition of melodic content, and dissimilarity, in particular discontinuity of melodic processes. It is discussed how the influence of melodic similarity on segment structure is dependent upon general features of musical structure, such as metrical structure. This notion is supported by the results of an experiment, which indicates that listeners do not make use of repetitions of pitch sequences for melodic segmentation when these are in conflict with the perceived general beat structure. The influence of metrical context is handled within the method, as well as the means of allowing for different levels of similarity through a categorization of different types and degree of similarity. This is illustrated by an example analysis of a melody in which the segmental structure is determined by melodic similarity of different types, the result of which is evaluated by a listener test. The result supports the notion that structurally significant similarity is relative and contextual and indicates that this is possible to model formally within a rule-based, style-independent method of analysis.
Using the same to make different. Analysis of a traditional musical repertoire based on centonisation
Authors: Tourny Olivier 
Published: March 2011

This paper deals with music based on Centonisation, a compositional technique broadly used during the Middle Age, still at work in many musical traditions around the world. Based on a limited stock of melodic patterns, it consists of using them in as much as many different ways as possible. The multiple possible combinations of ABCD musical patterns (ABCD, ABDC, etc.) can create as much as possible different musical pieces. As a result, understanding a musical corpus built on centonisation is quite a challenge for the listener: most of pieces sound the same although they are always different. In other words, the centonisation technique does not simply deals with the same and the other in music: it only works on these principles. As a very simple theoretical music technique, it possesses a very high potential for complex development in practice. In that sense, such a technique could be of great value as a basis for computational analysis that deals with automated pattern identification and extraction. Similarly, centonisation as an implicit/explicit system seems well adapted for experimental studies that analyze the cognitive processes involved in listening, such as identification, memorization and recognition of mobile melodic patterns in a closed system that is purely experimental or effective, like in the presented Ethiopian case.