Journal articles on the topic 'Bel canto Analysis'

In order to improve the intelligent analysis effect of Bel Canto music and improve the singing skills of Bel Canto, this paper uses the machine semantic recognition algorithm to identify the characteristics of Bel Canto music, builds a Bel Canto music feature recognition model, and analyzes the advantages and disadvantages of each Bel Canto semantic feature clustering method and the applicable data set types. Finally, this paper applies the Bel Canto semantic feature clustering method to multicomponent signal parameter estimation, uses the clustering method to cluster the time-frequency analysis of nonstationary signals, obtains the time-frequency distribution of each signal component, and then estimates the parameters of each single-component signal. The experimental results show that the Bel Canto music feature recognition method based on machine semantics proposed in this paper has a good effect.

As we all know, as the soul of music artists, the cultivation of music sense is an indispensable and important part of Bel Canto teaching. Traditional music classroom education lags behind the development of the information age. According to the educational method of Bel Canto teaching, the recognition experiment of Bel Canto audio is carried out, which helps students analyze the content of music sense contained in music works, and teachers cultivate students’ music sense and music theory knowledge according to effective results. In order to better let students appreciate the true meaning of music, it is necessary to add online tools to assist Bel Canto teaching. Traditional methods neither teach students in accordance with their aptitude from the actual situation, but use the rapidly developing computer technology to match resources, nor does it seriously cultivate students’ ability to appreciate music and perceive emotions. Based on the above problems, this paper starts from the field of deep learning and plans to build a hybrid model related to LSTM. The results of this paper are as follows: (1) The CNN-LSTM model has the highest recognition rate curve, and the recognition rate of some emotions is over 90%; the loss rate tends to be stable at 200 iterations, and the convergence speed is rapid. (2) After preprocessing, the emotion recognition rate is higher, and the average accuracy of audio features extracted based on spectrogram + LLDs in emotion is about 0.7. (3) According to the actual scene application, the best effect of music sense cultivation is to use the model to assist classroom teaching, and the highest score can reach 8.8 points. In addition, the error between the emotional expression identified by the model and the original work is between 0 and 0.5 points, and the emotional expression effect is excellent. (4) The model can also recognize different kinds and times of emotion in 5-minute Bel Canto works. The above experimental results show that the model basically meets the requirements of the subject, and its performance is excellent, but the details need to be optimized.

Background. The category of style is one of the most used in modern musicology. This is due to objective reasons: the attention of the “consumer” of a cultural product is mostly not focused on its author recently. The coexistence of individual performance versions of composer’s works is one of the reasons that problems of stylistic attribution of musical art do not lose their relevance. In different areas of musical practice these problems are interpreted in different ways and get various degrees of theoretical understanding. The area of vocal art deserves special attention. An analysis of specialized literature suggests that the ever-increasing number of appropriate studies has not yet influenced the crystallization of the definition of “vocal style” in the scientific sense. This is due to the fact that the meaning of the term “vocal style” has many dimensions that reflect technological, aesthetic, historical, individual and national parameters of creativity. This resulted in the purpose of proposed article – to identify the singular and general in the interpretation of the category “vocal style” in Western European and Chinese art discourse. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. The word style first appeared in ancient Greece, where it was called a tool for writing on wooden tablets covered with wax. Later, the word style began to be used to describe not only human activity, but himself. At the same time, there is no case in Confucius’s “Analects” of using this definition. Central to the aesthetic block of Confucius’ teaching is not the question of the style of art, but the degree of influence that it has on the formation of the five moral qualities. As for questions directly about the style of artistic creation, Chinese scholars believe that they were first addressed by a contemporary and follower of Confucius, literary theorist Liu Xie, in whose works for the first time in the history of Chinese culture the word “style” was used. We note that in both Europe and China the studies of ancient thinkers have become the foundation for centuries and millennia that determined the essential parameters of the worldview of peoples and civilizations and stimulated the development of human thought. So nowadays style is similarly understood as a certain set of features that characterize either a particular person or the results of his activities. As for a narrower understanding of style (in our case – vocal style), it historically developed much later, which was preceded by a long evolution of vocal art and the accumulation of relevant scientific works. In addition, it is necessary to take into account the specific of vocal performance, the essence of which involves working with verbal texts, their artistic representation, and, consequently, the determinism of not only musical but also artistic embodiment of the work. Thus, in European treatises of Renaissance and Baroque periods it is not about the performer, but about the style of specific musical works, basic parameters of which are determined by the place of performance and the appropriate type of expression. At the same time, there are studies which examine the national aspect of the phenomenon of vocal performance, that is perceived as a consequence of the interaction of several factors: temperament, climate and landscape. It is interesting that even in the baroque treatises maxims about the advantages of the Italian school bel canto can be found; and nowadays it continues to determine the development of not only European but also world vocal art. We emphasize that we can not find Chinese treatises dating from the XVII–XVIII centuries, which are devoted to the comprehension of vocal art in the European sense of the word. After all, academic vocal culture in this country has begun to develop only in the early twentieth century and therefore imitated and appropriated the aesthetic and technology of the dominant European vocal style bel canto. It is known that the definition of bel canto is most often used in two cases: as a designation of a certain historical style, which is most vividly embodied in works of V. Bellini and G. Donizetti, and as a designation of singing technique. So we see that, as in other performing arts, the definition of style contains two interdependent parameters: technological and artistic and aesthetic. And the latter in the case of exactly vocal schools can be interpreted as a mobile factor. The similarity of interpretation of the definition of vocal style (namely one of its varieties – bel canto) in European and Chinese art literature is the result of the fact that eastern and western cultures are gradually approaching each other in the process of historical development. Conclusions. A comparative analysis of European and Chinese scientific sources suggests that the issues of musical stylistics occupied an important place in the minds of thinkers even before our era. And although both in the East and in the West the category of style was perceived as a mean of realization of the individual worldview of the man-creator, we can still talk about the difference in vectors of study of this problem. For example, if in the East it was perceived as a fundamental part of the ethical, in the West – the aesthetic. The formation of the phenomenon of “vocal style” was a natural consequence of the development of European vocal culture, where concepts of “technique” and “style” gradually crystallized. They became the basis of European vocal art, the assimilation of which has led to the phenomenal success of the modern Chinese school bel canto.

Abstract I Puritani is the masterpiece that crowned the creation of the Italian composer Vincenzo Bellini, being remarked and appreciated for the richness of his melodicity and profound symbols filled with the inspiration and creativity of a creator. This was the last of the ten works composed by Bellini, whose disappearance was premature, at only 33 years, but the passion and talent with which he created revealed a work dominated by essence and emotion, which establishes a close connection between chant and the poetic text, providing new expressive valences to the lyrical universe. The extremely difficult and demanding vocal writing raises serious challanges, the Bel-canto style meaning not only a “beautiful chant” but also a difficult texture, a certain specific phrasing and a spread of spectacular acute tones.

Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the aspect of the interaction of historical traditions and modern tendencies from viewpoint of comparative interpretation science. Analysis of recent publications on the topic of the article. The Italian opera of the XIX century is the object of many fundamental researches. The monograph of O. Stakhevych [7] demonstrates a multifaceted approach to the problems of becoming and development the bel canto style; in the study by M. Cherkashina [9], the music theatre of Bellini and Donizetti is presented as an independent phenomenon of Italian operatic history in its first period. I. Drach [2] points to debatable and sometimes subjectivity of interpretation of the concept “bel canto”. The evolution of the Italian opera already at the beginning of the XX century is considered in the study of L. Kirillina [3]; reference information about the Italian opera can be found in English-language articles from Grove’s dictionary [17]. An interesting concept is the book of A. Mallach [14] – the author traces the very fast path of the Italian opera from verismo to modernism. As for U. Giordano’s creativity directly, beside the small articles of encyclopaedic character [12; 13], the publication of M. Morini [15] is the most fundamental and complete. It collected not only researches of the composer’s creativity, but also reviews by contemporaries U. Giordano, his correspondence, registers of his performances and music recordings. The study of C. Ruizzo [16] contains arguments about the components of verismo in the work of U. Giordano, in particular, analyzes the finale of the III pictures of the opera “Andre Chenier”. Regarding this opera, we will separate the mini-guide by Burton D. Fisher [11], the articles of I. Sorokina [8], G. Marquezi [5], H. W. Simon [6], C. Duault [10]. The authors discuss not only the dramatic features of this opera masterpiece, the figure of the main character, but also the influences that this opera made, for example, on “Tosca” by J. Puccini. Statement of the main content of the article. The opera “Andrea Chenier” is a sign composition of the verismo era, despite the fact that its main character is the well-known politician, French poet and journalist. After composing (1895) and the premiere (1896, Milan), the opera was staged in Genoa, Mantua, Parma, Turin, New York (1896), Kharkov, Moscow; Budapest, Buenos-Aires, Florence, Naples, Prague, Santiago (1897), Antwerp, Barcelona, Berlin, Cairo, Lisbon, Rio de Janeiro (1898); in 1907, in the production of Covent Garden, E. Caruso played the title role. The composer and librettist brought to the stage as the protagonist of opera bright, courageous and ambitious person, so it is not surprising that both separate arias and the party of Shenier still belong to the repertoire of many prominent tenors of the planet – F. Tamagno, J. Martinelli, E. Caruso, B. Gigly, G. Lauri-Volpi, A. Cortis, F. Corelli, M. Del Monaco, P. Domingo, L. Pavarotti, M. Alvarez. The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art. However, the protagonist, in addition to being a poet, is also a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character. These features are embodied in the musical characteristics of Chenier. The main thing in interpreting his famous Improvisation “Un di al’azzurro spazio” (the 1 act of the opera) by E. Caruso is the very elaboration, exact construction of the melodic line and the bright climax, that is, combination the features both a lyrical and a dramatic role specializations that E. Caruso was possessed in equal measure. B. Gigli’s singing (which we consider an example of a dramatic embodiment of the image) is characterized by the refinement of the mezzo voce and the richness, when he sings in full voice, therefore his performance of the Improvisation, in general, is more emotional (a high-profile register, a rhythmic emphasizing that gives a distinct organization the image). M. Del Monaco performs the Improvisation not so much playing by the shades of his strong voice as leading the almost continuous melodic line, which gives mostly lyrical colours to the Chenier’s image. The aria “Come un bel di Maggio” from the 4 act performed by F. Corelli is a model of the exalted lyrics, the lyrical culmination of the opera. F. Corelli performs the aria legato that is tellingly to the bel canto tradition, with a full sound, as if the sound hovers and penetrates everywhere through the skilful addition of dramatic notes (the last sounds of the upper tenor range – si, la of the first octave). P. Domingo interprets Andrea’s image as a whole more dramatically, but in a fairly wide range – from the pathetic (Act 1), the sublime, lyrical (recognition in love in the Act 2) to the tragic (monologue “Yes, I was a soldier” of the Act 3) and the dramatic (Act 4). His striking rubato, aimed at acutely emotional expression, is impressive, P. Domingo has literally speaking in the some parts of the recitatives and even the arias, and that, in conjunction with accelerando, fills the musical language by the speech expression. The interpretation by P. Domingo corresponds to Chenier’s status as a revolutionary hero. Conclusions. Composing the opera, U. Giordano counted on the Italian tenor in the main role, according to the traditions of the bel canto era (strong upper notes, wide range, and equal voice sounding in different registers). The tradition of interpreting the image of Chenier, laid by the first performer J. Borgatti, generally is preserved. The analysis of the most famous interpretations of the Chenier’s part (performed by E. Caruso, B. Gigli, M. Del Monaco, F. Corelli, P. Domingo, J. Carreras, and L. Pavarotti) demonstrated the leading role of the Italian bel canto school. This applies to the principle of canto è riflesso, singing without forcing the sound, the role of breathing, which transforms into the singing sound, the predomination of the head register (la voce di testa), and the integrity of the cantilena. For instance, M. Del Monaco and F. Corelli are lyrical tenors; they sing brightly, with a shine light decoration of high notes. In the performance of B. Gigli, there is a constant movement forward; L. Pavarotti, F. Corelli, J. Carreras, being within the limits of the lyric and dramatic role specifications, transmit in music the power of deep feelings. Instead, B. Gigli and, P. Domingo especially demonstrate the power of drama in the role specification of the Italian tenor, thereby enhancing the heroic side of the image of Shenier. The prospect of further study of the topic is associated with the emergence of new interpretations of the image of A. Chenier in the 21st century, which opens up new dimensions of the science about art interpretation.

In the 1880s, the realization that Bellini had extensively reused melodies from early or unfinished works in his most famous operas provoked a small aesthetic crisis in Italy. Although today such reuse of material is no longer looked upon as a scandalous breach of compositional integrity, scholars have been slow to examine Bellini's self-borrowings for clues to the evolution of his style or to his attitudes toward the relations between melody and drama. Most of Bellini's self-borrowings show the composer simplifying his melodies, reducing harmonic and melodic variety as if to distance himself from bel canto convention. At the same time, melodic convention is essential to understanding the borrowings, a fact that becomes particularly obvious in those cases where dramatic parallels between the two contexts of a melody are obscure or nonexistent. For example, the recasting of a cheerful cabaletta in Zaira as a lament in I Capuleti e i Montecchi relies on a resemblance between melodic figures conventionally used to imitate tears or laughter-but also critiques those conventions. An allusive relationship between refrains in Il pirata and I puritani similarly derives its logic more from a shared musical evocation of solitude and empty space than from any overt dramatic resemblance between the two scenes. The article argues that for Bellini self-borrowing was entangled with the looser techniques of allusion and reliance on melodic convention. For this reason, study of the self-borrowings provides a model for engaging with the musical language of early nineteenth-century Italian opera, redressing the tendency to dismiss its musical detail as "merely" conventional and thus unworthy of analysis.

Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience of scientific and methodological generalization of creative principles of vocal pedagogy of the teacher, while emphasizing the role of Manoilo as a unique singer. The relevance of the topic and its practical significance are stipulated by the urgent need of vocal pedagogy to form a tradition of scientific reflection on the specialization of the vocalist, the representation of classical guidelines and methods in the modern dimension, establishing creative contacts of different generations. The purpose of the article is to reveal the pedagogical principles by M. Manoilo as an outstanding representative of the Kharkiv vocal school, genealogy and dominant features of his performing creative work. Analysis of recent research and publications. The creative figure of M. Manoilo has not yet received serious coverage in the domestic musicology yet. Existing sources are brief biographic descriptions in reference books and encyclopaedias, the anthology “Ukrainian singers in the memoirs of contemporaries, compiler I. Lysenko (2003), or mentions of his name in books on the artistic life of Kharkiv (O. Chepalov, 2012; Tsurkan, 2013). The methodology contains a number of interrelated approaches to the study of the phenomenon of the singer’s artistic personality: historiographical, biographical, performing, and phenomenological. Presentation of basic research material. M. Manoilo inherited the principles of vocal pedagogy from P. Golubev, who taught at the Kharkiv Conservatory (1930–1953) and was the successor of the classical school of Italian bel canto singing, as a student of F. Bugamelli, which was involved by I. Slatin in teaching vocals at the Kharkiv Music College (1901–1918). The creative principles of the artist-interpreter M. Manoilo are a compendium of his mastery: ● orientation on the generally accepted standard of sounding of a voice (bel canto); ● persistent search for individual reading of the role on the path of constant musical and intellectual self-growth; ● word culture; ● unity of sound-forming technology and artistic and aesthetic principles of a musical work, due to its genre and stylistic nature; ● psychological authenticity (own experience of “entering” the image and its “living-through”) and the singer’s ability for self-analysis; ● mental and psychological signs of artistic personality – great persistence and strength of character, the desire to reach the highest point (acme) of creative self-representation. The “denominator” of M. Manoilo’s performing skills is the style – the performer’s orientation for the accuracy of the composer’s text. The results obtained. The principles of M. Manoilo’s vocal pedagogy were based on the basis of generalization of own scenic experience as a system of generally acquired and personality-oriented principles: – sound culture (uniformity of construction of the singing range; flexibility, strength, flight of voice, use of mixed register, rounding, covering); sound word culture; attention to diction; – author-centrism of the singer’s interpretation of the vocal-stage image; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – trust in intuition, which the singer should constantly “check” with his/her own intellect according to the composer’s text. Conclusions. As the heir of the Italian tradition of singing, in all genres of performance M. Manoilo represented such qualities as: proper breathing (free passage of all resonator zones), beautifully designed, high-quality singing tone, theatrical voice, which was overlapping the sound of the orchestra, sonority, flight, equality of the whole range. From the domestic singing paradigm one should add to Manoilo’s artistic portfolio the following: ● recitative-speech cut of vocal intonation (melodic nature of singing is enriched by the relief of declamatory vocalization); ● clear diction of the word being sung to reach the minds and hearts of listeners and establish a dialogue with the author; ● cordocentrism – a particularly intense intra-emotional tone of performance as a personification of the Ukrainian “philosophy of the heart” (Н. Skovoroda); ● integrative type of performing thinking – the unity of poetic-intonation and stage-artistic image of the singer. If a super-goal of music is, according to Aristotle, the entelechy, then singing technique is a way to achieve it. Such was the universal basis of M. Manoilo’s requirements of to himself, as well as to the students of his solo singing class

I testi per musica offrono molteplici spunti e stimoli per l'insegnamento e l'apprendimento della lingua italiana. I due generi principali, l'opera lirica e la canzone, consentono di approfondire anche lo sviluppo storico del nostro idioma e di affrontare le varietà stilistiche e sociolinguistiche del passato e del presente; inoltre il modo di fruizione principale e più genuino di questi testi verbali (quello che, appunto, li unisce all'esecuzione canora e musicale) è per sua natura multimodale, tratto che in anni più recenti ha acquisito ulteriori potenzialità grazie allo sviluppo della multimedialità. Senza contare che a partire sia dall'opera lirica sia dalla canzone gli insegnanti possono elaborare dei percorsi interdisciplinari pensati appositamente per le diverse categorie di studenti a cui di volta in volta si rivolgono. Il saggio presenta un esempio concreto di analisi linguistica e di una possibile applicazione didattica di natura multimodale, multimediale e interdisciplinare prendendo in esame l'opera che ha inaugurato la stagione 2021-2022 del Teatro alla Scala di Milano, il Macbeth di Giuseppe Verdi, e le canzoni prime classificate al Festival di Sanremo dello stesso anno: una scelta sperimentata in alcuni corsi accademici e che ha dato esiti positivi perché più aderente e vicina al contesto culturale, informativo e massmediatico in cui gli studenti sono immersi. Bel-canto and songs in teaching Italian as L1, L2 and LS. General considerations and teaching experiences Texts written to be sung offer many possibilities to teach and learn the Italian language in a pleasant way. The two main genres of these texts for music - opera and song - also allow to deepen the historical development and the stylistic and sociolinguistic varieties of the Italian language. Multimodality is an intrinsic feature of the fruition of sung texts; furthermore, in recent years the development of multimedia has offered new possibilities in this direction. In addition, both opera and song allow us to deal with interdisciplinary arguments. The paper presents an example of linguistic analysis and a possible multimodal, multimedia and interdisciplinary didactic application: it analyzes the opera that inaugurated the 2021-2022 season of the Teatro alla Scala in Milan, Macbeth by Giuseppe Verdi, and the first classified songs at the Sanremo Festival of the same year. This choice has been tested in some academic courses, giving positive feedback: in fact, the students approached these texts with greater interest because they considered them to be closer to the cultural and informative context they experience every day.

The article deals with the development of the manner in which Geneva’s institutional psychiatric power is undermined during the 1970s. An attempt is thus made to situate the former disagreements into a broader perspective. thereby referring to the so-called «anti-psychiatry» of the 1960s. Following a presentation of the Bel-Air Clinic in regards to its context and reforms, the paper features an analysis of the criticisms and demands purported by alternative groups in matter of psychiatry. As such, the paper ranges from the denunciation of psychiatric repression in Canton Geneva, to the subsequent critical eruption of the reorganisation of the psychiatric structures, up to the legislative amendments of the 1980s.

Background. In today’s performing arts, more and more musicians are turning to the trends of historical performance. Therefore, musicology is actively searching for new approaches to the detailed study of authentic performance, to the reproduction of the most adequate ways of interpreting the music of previous eras. Among such methods of interest is the correlation of methods of reconstruction and deconstruction considered in this study. The object of the study is historically oriented performance of music works. The aim of the article is to determine the basic approaches of a number of modern scientific works to the reproduction and interpretation of old music and to identify the research position, which will play the role of methodological key to the analysis of the phenomenon of Early music. The methodology of the research based on analytical and comparative approaches applied to historical-stylistic phenomena, and emphasizes the methods of deconstruction and reconstruction for ancient music interpretation. Research results. The study identifies various approaches to studying the specificity of performing early music and to the interpreted compositional object of authentic performance. The latest scientific publications of musicians-researchers are analyzed: N. Sikorska, V. Kachmarchik, E. Kruglova. N. Sikorska (2016) have identified different approaches to musical Baroque legacy, implemented in nonauthorial editions of the Romanticism era. She presents in the form of a hierarchical system the stylistic parameters of the authentic performance of the Baroque style in the works for clavier of the late 16th – early 18th century. V. Kachmarchik (2003), in his scientific work, studied the historiography of flute art and determined the main stages of development of the flute design, also noted the basic principles of the formation of German flute pedagogy and determined the role of outstanding personalities in German flute art of the 18th – 19th centuries. E. Kruglova (2007) in her doctoral dissertation summarizes the artistic principles of Baroque vocal art: the vocal tradition of the Baroque era, the specifics of musical expressive means (dynamic, tempo, vocal-language articulation, ornamentation) and vocal technique (breathing, sound emission). She also conducts a comprehensive study based on the cultural-historical method that represent a culture as the key to interpreting a work of art and helps to understand comprehensively the bel canto singing tradition in the Baroque era. Also, she uses the theoretical and analytical methods, which provides a deep analysis of documents to identify the essence of the singing tradition, a thorough study of the means of musical expressiveness that make up its basis; the method of comparative analysis for determination the features of the most important parameters of performing interpretations of music by G. F. Handel in the period under review. However, these works did not pay due attention to the difference in the basic definitions of the very phenomenon of authentic performance: firstly, of the authentic performance as an instrumental accompaniment of vocal music, and secondly, of the ideas about the essence and nature of the instrumental version of historical performance itself. The author of the article formulates the methodological principles of studying the phenomenon of authentic performance, explains the attributes of the methods of “reconstruction” and “deconstruction” – in relation to the recreation of the historical interpretation of early music. Thanks to the methods of reconstruction and deconstruction, the historical image and meaning of the musical culture of the Baroque and the Renaissance may be recreated adequately. Need to take in account the uniqueness of each historical situation and the importance of the context of the era, in correlation with which the corresponding instruments, canons of musical writing and performance occur, are determined. The use of the reconstruction method led to the comprehension of the change of all means of expressiveness: tempo, motion, instrumentation, touch and strokes – even the tasks and meaning of music as an art form. Note that such an approach as deconstruction involves a “focus shift” to identify small details that will decipher the meaning of the work. The use of this method by authenticity scientists clarifies the incorrectness of the ideas about early music, helps the modern listener to improve the ideas about the relevant cultural era. With the help of scientific discourse, researchers and performers reconstruct the real meaning of early music, a new vision of historical performance as an artistic phenomenon is gradually emerging. Conclusions. The presented analysis of various approaches to the study and authentic reproduction of music by ancient composers reveals, from the author’s point of view, as a fundamental and promising approach based on the correlation of deconstruction and historical reconstruction methods. The Baroque era is characterized by the huge role of conventions and the careful study of details that are inextricably linked with canon and tradition. In this case, the use of the method of deconstruction destroys, first, the incorrect achievements and ideas about ancient music, which prevent the modern performer and listener from reaching its understanding. For an adequate restoration of ancient music, many factors must be taken into account, the main of which is the experience and achievements of pioneers of an authentic direction. The artistic practice of authentic performers should also be based on the achievements and conclusions of the relevant research work. Prospects for further research in this matter are a detailed study of works of ancient musical heritage and ways of their modern reproduction by talented musicians.

People's interest in the safe use of food has existed since ancient times, so that even today there is a global demand for the production of food that can be used without risk to health. Contaminants, as well as the type and location of grazing can affect the physico-chemical and sensory properties of honey. The aim of the study was to examine the microbiological validity and sensory properties of honey from two different areas in Tuzla Canton. The research included three samples of forest honey from the Kladanj area and three samples of flower honey from the Lukavac area. In addition to microbiological analyzes and sensory properties, the concentration of HMF in honey was determined as an indicator of heating and inappropriate storage of honey. All samples were microbiologically correct. The sample of flower honey L1, which did not meet the criteria prescribed by the Regulation on Honey and Other Bee Products, was not sensory evaluated. L1 sample was not sensory evaluated due to an increased HMF content of 105.38 mg/kg. Based on sensory analysis, the samples of flower honey from Lukavac were better evaluated than forest honey from Kladanj. Statistical analysis showed that there is a significant difference between the mean values for the sensory properties of purity and color.

The region under survey around Diesbach takes in an area of approx. 11.7 km2. Along the perimeter are former rubble and refuse heaps, as well as a number of the typical side channels arising from the protrusions of debris of more recent times. In keeping with the high water flows, along a stretch of about 300 m the Diesbach is channelled along a plaster-coated basin. An integral project, set up in 2000, had the aim of producing a concept for measures to be taken to reduce risk based on a comprehensive hazard and risk analysis. In addition, the project called for the cost efficiency of measures. The elaboration of the project followed guideline set out by the Canton for the protection from natural hazards. Risk analysis,as an instrument of projects aimed at natural hazards, lies at the centre of these guidelines, because it is inadequate to merely identify changes in danger levels. The risk posed by the Diesbach is expressed in an annual expected damage value of approx. 120 000 Swiss francs. The measure concept will cost approx. 1.6 million Swiss francs and takes into account the problem of loose deposit as well as driftwood with a cost/earning ratio of about 2. The project shows the advantages of a risk-based solution in an exemplary way.

Abstract Background Fatigue is a common and disabling symptom experienced by patients (pts) after breast cancer (BC) treatment, significantly impacting their quality of life. However, this complex and multidimensional symptom often remains poorly managed. Previous studies identified some treatment-related factors associated with increased risk of developing severe and persistent fatigue. A better understanding of the relationship between treatment modalities and fatigue may help prevention and management strategies.Multimodal BC treatment often includes radiotherapy (RT) to the breast and/or nodal areas. RT modalities are now increasingly personalized. While an association between receipt of RT and fatigue after BC was previously suggested, large-scale data analyzing the impact of distinct RT modalities on fatigue are lacking.Our aim was to assess the impact of RT modalities on fatigue one year after treatment among patients with early-stage BC. Methods CANcer TOxicity (CANTO; NCT01993498) is a large multicentric nationwide prospective cohort of patients with stage I-III BC diagnosed from June 2012 to February 2017. The present analysis was performed in CANTO-RT, a sub-cohort of CANTO including 3875 patients who received RT in one of the 10 top recruiting CANTO centers. Among those patients, we selected 3797 patients who received unilateral RT.Our primary outcome was severe global fatigue 1 year after RT completion, defined by EORTC QLQ-C30 score ≥ 40/100. Secondary outcomes included severe physical, emotional and cognitive dimensions of fatigue (EORTC QLQ-FA12). The following RT-related variables were used as independent variables: Technique (3D vs IMRT), type of fractionation: Normofractionation (NF) vs Hypofractionation (HF), Boost to tumor bed (Yes vs No), Nodal RT (Yes vs No) and internal mammary chain (IMC) RT (Yes vs No). Multivariable logistic regression models assessed associations between RT-related variables and fatigue, adjusting for clinical, tumor, and BC treatment-related covariates collected at BC diagnosis. Results Our analytic cohort included 3797 patients. Among them, 2348 patients were postmenopausal (63%), 2030 received chemotherapy (52%), and 3068 endocrine therapy (81%). The prevalence of severe global fatigue 1 year after treatment was 33.3%. In addition, 33.1%, 20.4%, and 12.9% of patients reported severe physical, emotional and cognitive fatigue, respectively. Conformal 3D RT was delivered in 3635 patients (96%) mostly NF (2Gy/fraction) (n=2707; 93%). The majority of patients (n=2600; 68%) received a boost. Nodal RT was delivered in 1317 patients (35%) including 819 patients (22%) with IMC RT. After correction for age, BMI, comorbidities, income, smoke behavior, anxiety, depression, receipt of chemo and endocrine therapy, there was a significant relationship between specific RT modalities and severe global fatigue. Specifically, receipt of IMC RT (adjusted OR vs. no 1.57 [95% CI 1.10-2.25; p=0.0134]) and NF RT (adjusted OR vs. HF 1.77 [95% CI 1.01-3.11; p=0.048]) were associated with increased odds of severe global fatigue.In addition, there was a significant association between NF RT (adjusted OR vs. HF 1.75 [95% CI 1.01-3.07; p=0.049]) and an increased likelihood of severe physical fatigue, whereas none of the investigated RT modalities seemed to be associated with emotional and cognitive fatigue dimensions. Conclusions More than one third of patients in this RT-treated cohort reported severe fatigue 1 year after treatment. We found a significant association between RT modalities, such as IMC RT and NF, and increased likelihood of severe global fatigue. NF was also associated with physical fatigue. Our data add to the current understanding of treatment-related factors that can impact fatigue after BC, and inform personalized interventions to improve prevention and management of this disabling symptom. Citation Format: Youssef Ghannam, Antonio Di Meglio, Thomas Sarrade, Alexandra Jacquet, Sibille Everhard, Youlia Kirova, Karine Peigneaux, Philippe Guilbert, Claire Chara-Brunaud, Julien Blanchecotte, Gilles Crehange, David Pasquier, Séverine Racadot, Céline Bourgier, Julien Geffrelot, Ahmed Benyoucef, Francois Paris, Guillaume Auzac, Inès Vaz-Luis, Sofia Rivera. Improfib: Impact of radiotherapy on fatigue in breast cancer survivors [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr P4-11-07.

Statistical analyses were carried out using data from 25 phenological observation stations in the Grisons and 17 chosen phenological phases between 1951 and 1998. Results show a wide scattering of phenological data depending on both time and location. The variation is attributable to climate differences in the different regions (Rheinbünden, Südbünden and Engadin), as well as differences of altitude (between 580 and 1805 m.a.s.l.) in the Canton. Trend analyses of 100 phenological time series during the period in question show, above all, a precocious tendancy in the Grisons. In contrast to the evaluation for the whole of Switzerland all phenophase species(including autumnal phases) show a precocious trend which reaches a peak at 22 days in full blossom. This early start of the vegetation period is cleary linked to climate change, as the start of phenological phases in spring are strongly influenced by temperature. Generally speaking, precocity in the Grisons is more accentuated than in the rest of Switzerland. This is a persuasive result in view of the fact that plants at the higher stations react more strongly to climate warming than those in the lowlands or in milder regions and many of the observation stations in the Grisons are situated at alpine altitudes, i.e., over 1000 m.a.s.l.

Apis cerana and Apis mellifera are important honey bee species in Asia. A. cerana populations are distributed from a cold, sharply continental climate in the north to a hot, subtropical climate in the south. Due to the Sacbrood virus, almost all A. cerana populations in Asia have declined significantly in recent decades and have recovered over the past five years. This could lead to a shift in the gene pool of local A. cerana populations that could affect their sustainability and adaptation. It was assumed that adaptation of honey bees could be observed by comparative analysis of the sequences of genes involved in development, labor division, and caste differentiation, such as the gene Vitellogenin VG. The VG gene nucleotide sequences were used to assess the genetic structure and signatures of adaptation of local populations of A. cerana from Korea, Russia, Japan, Nepal, and China. A. mellifera samples from India and Poland were used as the outgroup. The signatures of adaptive selection were found in the local population of A. cerana using VG gene sequence analysis based on Jukes–Cantor genetic distances, cluster analysis, dN/dS ratio evaluation, and Tajima’s D neutrality test. Based on analysis of the VG gene sequences, Apis cerana koreana subspecies in the Korean Peninsula were subdivided into three groups in accordance with their geographic localization from north to south. The VG gene sequences are acceptable tools to study the sustainability and adaptation of A. cerana populations.

Abstract Abstract 1230 C/EBPα is required for the formation of the granulocyte-monocyte progenitor; however, its role in subsequent lineage specification remains uncertain. We previously compared G-CSF with M-CSF signaling in murine marrow, finding that G-CSF more potently induces phosphorylation of SHP2 whereas M-CSF more potently activates ERK. Knockdown (KD) of SHP2 impaired granulopoiesis relative to monopoiesis and unexpectedly led to reduced C/EBPα RNA. A. Cantor and colleagues recently reported that SHP2 dephosphorylates Src kinase-modified RUNX1 and increases the ability of RUNX1 to induce megakaryopoiesis, and we demonstrated that in myeloid cells RUNX1 binds and activates the CEBPA gene, via its promoter and via a conserved 450 bp enhancer located at +37 kb containing 4 RUNX1-binding sites. Thus, G-CSF or other cytokines potentially direct SHP2 to activate RUNX1 which then increases C/EBPα transcription in myeloid progenitors to favor granulopoiesis. As a test of this model, we have now transduced lineage-depleted murine marrow cells, cultured in SCF, TPO, and Flt3L to minimize myeloid differentiation, with shRNAs targeting CEBPA or with a control lentiviral vector. Western blotting indicated 2-fold KD by shRNAs B9 or B11 after 2 days of transduction followed by 2 days of puromycin selection. As this analysis was done on a mixed population, greater KD may occur in rare progenitors. Upon transfer to IL3, IL6, and SCF to favor myeloid maturation, vector-transduced cells produced 4-fold more CFU-G than CFU-M in methylcellulose, whereas CEBPA KD resulted in 4- or 5-fold more CFU-M than CFU-G. FACS analysis of pooled CFUs demonstrated significant reduction of Mac-1+Gr-1+ granulocytes and an increase in Mac-1+Gr-1− monocytes, and examination of cell morphology after Wright's-Giemsa staining further confirmed a shift towards monopoiesis in response to reduced C/EBPα. Similar findings were obtained for cells placed in liquid culture. In addition, on day 3 of liquid culture Q-RTPCR analysis showed that CEBPA shRNAs induced 2- or 3-fold CEBPA RNA KD, reduced granulocytic MPO, NE, PR3, and GCSFR RNAs, increased monocytic MCSFR and CD14 RNAs, and increased expression of EGR1, IRF8, and c-Jun RNAs, encoding transcription factors that help direct monopoiesis. RUNX1 RNA was unchanged, and PU.1 RNA was reduced <2-fold. To determine the effect of CEBPA KD in vivo, transduced, puromycin-selected CD45.2+ marrow cells were transplanted into lethally irradiated, syngeneic CD45.1+ recipients together with CD45.1+ carrier cells. At day 28, FACS analysis indicated a shift towards monopoiesis amongst shRNA B9- or B11-transduced marrow cells, and CFU assay of sorted CD45.2+ cells demonstrated significantly reduced CFU-G with increased CFU-M. Besides affecting myeloid lineage determination, CEBPA KD increased the rate of cell proliferation in liquid culture, associated with blasts evident upon morphologic analysis and an increase in Mac-1−Gr-1− cells, which mainly consisted of c-Kit+Sca-1− myeloid progenitors. In addition, CEBPA KD by shRNA B9, which impaired granulopoiesis more effectively than shRNA B11, increased CFU replating to 8 generations, compared with 4 generations for control cells. Analysis on day 3 of liquid culture did not reveal an alteration in the proportion of cells in G1, S, or G2/M or increased apoptosis, and c-Myc and Bcl-2 RNA levels were unaffected. We propose that CEBPA KD not only strongly impairs granulopoiesis, but also modestly impedes monopoiesis to produce a transient accumulation of cells with blast morphology and the ability to proliferate. Overall, our findings suggest that relative to monopoiesis, granulopoiesis requires increased level or increased activity of C/EBPα. Offering a potential mechanism, we previously found that C/EBPα :AP-1 leucine zipper heterodimers are more abundant than C/EBPα homodimers during monopoiesis compared with granulopoiesis, in part due to c-Fos, c-Jun, and JunB induction, and that C/EBPα :AP-1 heterodimers can direct marrow monopoiesis. Perhaps higher levels of C/EBPα favor homodimer formation, with reduced levels still able to heterodimerize with AP-1 proteins. ERK modification of C/EBPα on S21, as occurs downstream of M-CSF, reduces its ability to direct granulopoiesis; phospho-C/EBPα (S21) potentially retains the ability to direct AP-1 proteins to hybrid DNA elements recently identified in numerous monocytic enhancers. Disclosures: No relevant conflicts of interest to declare.

Abstract Background: Azacitidine (AZA) is the reference treatment for higher-risk MDS patients ineligible for intensive chemotherapy (IC) (Lancet Oncol 2009). It also improves overall survival (OS) in elderly AML patients with more than 30% marrow blasts ineligible for IC over conventional care (Dombret et al., EHA 2014). To date, no reliable biological marker predictive of AZA response has been reported. In a preliminary retrospective work in 32 patients, we found that quantification of BCL2L10 (an anti-apoptotic member of the Bcl-2 family of proteins) bone marrow mononuclear cells (BMMC) positive cells by flow cytometry (FCM) in HR-MDS patients represents a new potential biomarker for AZA response (Cluzeau et al. Oncotarget 2012). The aim of the present study was to validate those preliminary findings in a larger prospective multicenter cohort, analyzed blindly in 2 different laboratories. Methods: FCM was performed on fresh BMMC obtained at different times during AZA treatment: at treatment onset, after 3 or 6 cycles of AZA and at relapse, as previously described (Cluzeau et al., Oncotarget 2012) after several steps of fixation, permeabilization, and consecutive treatment with i) an anti-BCL2L10 antibody (Cell Signaling) and ii) a donkey anti-Rabbit FITC-antibody (Santa Cruz). All assays were performed in two different laboratories with two kinds of cytometers: Paris (Canto Becton Dickinson), Nice (Miltenyi Biotec). MDS and AML patients treated with AZA were prospectively included from 6 centers in this correlative study (clinicaltrial.gov: NCT 01210274). Response was assessed by IWG 2006 criteria for MDS or by Cheson et al (2003) for AML. Results: 75 MDS or AML patients were included. Median age was 73 years (range 35-91) and M/F was 37/38. 20%, 19%, 36% and 25% patients had RA, RAEB-1, RAEB-2 and AML respectively. IPSS was low, int-1, int-2 and high in 2%, 26%, 35% and 37% respectively. IPSS-R was very low, low, int, high and very high in 3%, 2%, 16%, 20% and 59% respectively. Patients were treated by AZA (75mg/m²/day, 7 days every 4 weeks) for a median number of 6 cycles (range 1-50). Overall response rate (ORR) was 60%, including 28% CR, 17% marrow (m) CR, 7% PR and 8% stable disease (SD) with hematologic improvement (HI). In MDS, the ORR was 57% (33 % CR, 11% mCR, 7% PR and 6% SD with HI). In AML, the ORR was 62% (23% CR, 23% mCR, 8% PR and 8% and SD with HI, based on MDS criteria). The median % of BCL2L10 positive cells was 9.5% (range 0-95) and no correlation was observed between % of BCL2L10 positive cells and marrow blasts. The median % of BCL2L10 positive cells was 30% (range 0-95) in non-responders and 10% (range 0-56) in responders (p=0.01). The response rate was 7% and 64% in patients with ≥ 50% vs < 50% BCL2L10 positive cells, respectively (p<0.0001). Median OS after FCM analysis performed before or during AZA treatment was 5.8 months in the 11 patients with more than 50% versus 11.7 months in the 64 patients with less than 50% of BCL2L10 positive cells (p=0.03). In 8 patients studied sequentially before, during AZA treatment and at relapse, the % of BCL2L10 positive cells remained stable below 50% and increased above 50% few months before relapse. The best prognostic cut off value for BCL2L10 positive cells was 50%. Flow cytometry results were reproducible in the two laboratories, with two different cytometers. Conclusion: We confirmed in this larger prospective multicenter cohort that the percentage of BCL2L10 positive cells, analyzed in 2 different labs, is inversely correlated with response and survival after AZA treatment in both MDS and AML patients, the best prognostic cut-off value for BCL2L10 positive cells being 50%. Our flow cytometry assay is reproducible in different laboratories and can be performed routinely at diagnosis and during AZA treatment. A multivariate analysis including other prognostic factors of response and OS with AZA will be presented. Disclosures No relevant conflicts of interest to declare.

This article examines the process of dynamic building and subsiding in verismo opera. Departing from groundswell originally drawn from Julian Budden’s analysis of bel canto opera, I propose a new dynamic paradigm, the climax archetype—consisting of initiation, intensification, highpoint, and abatement—and its operational parameters. To appropriately respond to diverse dynamic structures, variants of climax archetype—climax-stage fusion, high region, highpoint frustration, highpoint absence, climax succession, and climax nesting—are also suggested. These analytical paradigms are applied to works by Puccini, Giordano, Mascagni, and Zandonai, to clarify the mechanism of dynamic rise and fall in conjunction with the dramatic action.

Abstract In the 21st century, with the rapid development of information processing technology, neurophysiology, non-linear dynamics, fuzzy mathematics and other disciplines, artificial intelligence (AI) has come to be widely used in many aspects. Considering AI music, music, art, AI and music media fuse together. For the perfect combination of modern technology and traditional art, a variety of technologies, including machine learning, machine perception, neural network, genetic algorithm, knowledge representation, knowledge system and so on, form a new category in AI. The advent of this technology has dramatically changed traditional music. Therefore, this paper applies AI technology to bel canto singing and combines it with AI technology, summarises the corresponding algorithm principle and analyses its development trend and characteristics with specific application cases, in order to better serve music.