Academic literature on the topic 'Drum accompanying'

The purpose of this study is: To find out how the technique of playing Gendang Bebano in accompanying the jogi dance in the wansendari art studio. The approach and type of research used by the researcher is descriptive qualitative. This research was conducted at the Wansendari Art Studio, Batam City, so the population of this study were all members of the Wansendari Art Studio. While the samples of this study were members of the studio musicians, the head of the studio, the instructor of the studio as well as the head of culture in the city of Batam. The writing uses data collection techniques in the form of: observation to produce valid data regarding the technique of playing the Gendang Bebano in accompanying the jogi dance. Interview to get the results of research on the technique of playing Gendang Bebano in accompanying the jogi dance. Documentation for additional data in the form of photos, recordings and videos. The results of this study prove that the technique of playing the Gendang Bebano in the form of the body position of the drummers is sitting cross-legged and the drums are above the players' feet The Bebano of the drum is held by both players' hands and produces the sound of tak, pung, plang, tung. On the sound without using the index finger, middle finger, third finger, and little fingers, they are hit on the edge of the drum skin. The sound of pung uses the index finger, middle finger, third finger, and little finger but is hit in the middle area of the drum with the fingers in a straight position with the palm of the hand attached to the edge of the drum. In the plaang sound, the middle finger, third finger, and little finger are beaten on the edge of the drum but the palms are attached to the circumference of the drum. For the tung sound, use 4 straight fingers and hit in the middle of the drum.

This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there are tones in the campursari song that does not exist on the gamelan instrument but exist on the keyboard. The addition of drums in the show is intended to lift the mood and strengthen the trance scene. The drum play tends to follow the dynamics of the kendang when accompanying the performance.

In the framework of the radioactive waste drum characterization using neutron coincidence counting, the Nuclear Measurement Laboratory of CEA Cadarache is studying plastic scintillators as an alternative to ideal but costly 3He gas proportional counters. Plastic scintillators are at least 5 times cheaper for the same detection efficiency, and in addition, they detect fast neutrons about three orders of magnitude faster than 3He detectors. However, they are sensitive to gamma rays, which implies the necessity to identify precisely gamma background sources that may affect the useful signal. This paper presents a detailed analysis of the gamma-ray spectrum of a radioactive waste drum containing glove box filters contaminated by plutonium dioxide. Gamma emissions accompanying inelastic scattering (n,n’) and (α,n) reactions that can lead to neutron-gamma coincidences parasitizing useful coincidences from plutonium spontaneous fissions are identified. Some of these parasitic gamma rays having energies up to several MeV, we plan to reject high-energy scintillator pulses with an electronics rejection threshold above 1 MeV, which should preserve the major part of useful fission neutron pulses.

In cultural responsive learning, teachers need to have the ability to explore mathematical phenomena in cultural elements as learning content. This research is a qualitative descriptive study aimed at exploring ethnomathematics in Bajawa traditional dances, namely the Ja,i dance, its relevance to competency standards and basic mathematics competencies in elementary schools. The approach used is ethnographic. The technique used is observation and study of documents and the researcher himself acts as the main instrument. Observations were made on the accompanying music devices contained mathematical concepts. Furthermore, researchers compare with the basic competencies of elementary school mathematics. The results showed mathematical material was found in the musical instrument section of Ja,i dance. The surface of the gong and the drum (gendang) are circular, the body of the large drum is frustum of a cone, and the gendang laba kagu, laba bhuga and gong are tube-shaped. In the middle of the gong there is a kind of lump which is shaped like a half ball. The implementation of this research can be applied in cultural responsive learning in elementary schools.Keywords: ethnomathematics, learning, cultural responsive, jai,i dance

ABSTRACTGong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the function of the drum (in Bali it is called kendang) in the ensemble is more important than it was in older styles and it is considered to be the leader of the ensemble. Drummers are skilled musicians and usually teachers, who know all of the parts that are played by other instruments in the ensemble. Krumpungan, Cedugan, and Gupekan are examples of drumming style that gives incorporate the idea of improvisation, though in Bali we do not have a special term for improvisation. We do however have the same ideas and sense of the meaning of improvisation itself in the way some drumming is played spontaneously in the course of performance, by using drummer’s abilities to create spontaneously new pattern on stage. There are some important aspects that need to be underlined in creating those patterns, such as: melody accompaniment, dancer’s cues, good partnership (in krumpungan and cedugan), and the ability to lead the ensemble. Those aspects have the prominent role in the acheivement of drum improvisation in the performance. Drumming improvisation remains something that has to be learned more comprehensively in the future. It is still an abstract concept for many musicians as well as Balinese gamelan lovers.Keywords: improvisation, drumming, kendang, gong kebyar. ABSTRAKGong kebyar muncul pada awal abad ke-20 dan pada mulanya merupakan genre instrumental. Dalam perkembangan selanjutnya, ensambel tersebut menjadi terbiasa dengan komposisi tari yang menyertainya, yang dihiasi dengan improvisasi tari yang berbeda sesuai dengan gaya khas gong kebyar. Ada tiga jenis drum Bali yang dianggap improvisasi, khususnya gaya-gaya yang dimainkan dalam repertoar gamelan gong kebyar. Gamelan gong kebyar adalah genre musik abad ke-20 yang paling populer dan berpengaruh yang dikembangkan di Bali. Dalam gamelan baru ini, fungsi drum (di Bali disebut kendang) dalam ensambel lebih penting daripada pada gaya lama dan dianggap sebagai pemimpin ensembel. Drumer adalah musisi yang terampil dan biasanya adalah guru, yang tahu semua bagian yang dimainkan oleh instrumen lain dalam ensembel. Krumpungan, Cedugan, dan Gupekan adalah contoh gaya drum yang memberikan ide improvisasi, meskipun di Bali tidak ada istilah khusus untuk improvisasi. Namun di sini ada ide yang sama dan rasa makna improvisasi itu sendiri dengan cara memainkan beberapa drum secara spontan dalam jalannya pertunjukan, dengan menggunakan kemampuan pemain drum untuk menciptakan pola spontan baru di panggung. Ada beberapa aspek penting yang perlu digarisbawahi dalam menciptakan pola-pola tersebut, seperti: iringan melodi, isyarat penari, kemitraan yang baik (dalam krumpungan dan cedugan), dan kemampuan untuk memimpin ensambel. Aspek-aspek tersebut memiliki peran penting dalam pencapaian improvisasi drum dalam pettunjukan. Improvisasi drum tetap sesuatu yang harus dipelajari lebih komprehensif di masa depan. Ini masih merupakan konsep abstrak bagi banyak musisi dan juga pecinta gamelan Bali. Kata kunci: improvisasi, drum, kendang, gong kebyar.

AbstractThe purpose of this work is to arrange Ayah song as a form of expression of the author's musical experience in arranging, making musical arrangements that are relevant to the works of musical works of students and maximizing the potential of human resources (students) in school. In this work, the author uses a mixed ensemble presentation format. The musical instruments used for accompanying vocals are pianika, piano, guitar, bass, and drum-set. This arrangement uses 2 parts, namely part A and part B with a time signature of 4/4. Part A starts from 1 time to 46 time and part B starts from the time of 47 to 103. The musical arrangement of this work contains lyrics that tell about the attitude of a father who loves and protects his child. The development techniques applied are (1) repetition melodically and rhythmically, (2) sequences, (3) augmentation, (4) diminution, and various other techniques without changing the essence of the song Ayah.Keywords: Arrangement, School Music, Father's Song.

ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai sebagai guratan sisi pandang terhadap realita yang terlintas dalam fikiran pengkarya seperti emosi penyesalan, kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.

Kò séní m’èdè Àyàn Bí ení mú kò ̣ ̣ǹgó ̣ è ̣ lówọ́ No one understands the language of Àyàn Better than the drummer who holds the gong in his hand Yorùbá maxim From the Yorùbá oral historical, mythological, and ontological, abstract lines of reasoning, Àyàn is believed to be the first Yorùbá drum maker and drummer, who, after his death, was deified as the god of Drumming (Òrìsà ̣ Àyàn, or simply Àyàn). Hence, when an experienced Yorùbá drummer plays his drum masterfully, the elders with the drum speech discernable ears (òmò ̣ ràn) that hear the drumming, even from afar commend, “may Àyàn, ̣ the god of drumming prosper/ protect you!” (Àyàn ó gbè ó!). As among other Yorùbá deities (òrìsạ̀) that live in the spiritual realm in certain but uncommon natural environments (forests, trees, rivers, streams, and mountains, among others), Òrìsà Àyàn is thought to reside in wood (Vil ̣ - lepastour 2015, 3). For this reason, Òrìsà Àyàn is emblematized by the wood ̣ with which the body of the drum (ìlù) is carved. Similarly, this deity is eulogized as “the spirit who speaks out from inside his wooded abode” (Òrìsà ̣ gbé’nú igi fohùn), in reference to the log of wood with which the drums (ìlù) are carved. It is said that Òrìsà Àyàn particularly prefers that ìlù be carved ̣ with Cordia millenii (igi òmò ̣ ), a belief that gave birth to the Yorùbá saying, ̣ “out of the entire wood species of the forests is the preferred Cordia millenii, with which gbèdụ drum is carved” (Igi gbogbo ní ńbe ̣ ní’gbó, k’átó fi’gi òmò ̣ ̣ gbé ̣ gbèdụ). Because of his position as the patron deity of drumming, which 2 Oláwọlé Fámúlẹ̀ by extension is used to accompanying sacred rites in honor of virtually all the Yorùbá òrìsạ̀, Òrìsà Àyàn is thought to be their mouthpiece, as they all speak ̣ through the drums that he emblematizes. Another emblem of Òrìsà Àyàn that ̣ is even worshipped is a shallow hemispherical drum with a single fixed head, which is worn on the chest with a strap around the neck and beaten with leather straps held in each hand (gúdúgúdú ) (Bascom 1952, 4). The gúdúgúdú symbol of Òrìsà Àyàn also goes by the praise name (oríkì) “gúdúgúdú with its distinctive uneven and undulated back shape” (Gúdúgúdú, ab’è yìn jákan- ̣ jàkan). The component parts that formed this uneven and surged-back shape [of gúdúgúdú] include kúseré and apìràn. Kúseré is a circular metal object affixed onto the drum’s wooded base, and apìràn is an array of wooden pegs that hold the kúseré securely onto the base of the instrument. At the exoteric and practical level, Àyàn also refers to any Yorùbá traditional and professional drummer, who plays the drum (ìlù), often with the use of a gong (kòṇ̀ gó).̣ The Yorùbá professional drummers share the name àyàn with Òrìsà Àyàn since they are the human agents who play the drums (ìlù), ̣ emblem of Òrìsà Àyàn, and through which the deity speaks. The ̣ Yorùbá incantation “the day that the drummer drums with his gong/drumstick is the very moment that the Àyàn god of drumming speaks out that which is in his mouth” (Òòjó ̣ tí kòṇ̀ gó ̣ Àyàn bá f’ojú ba ìlù ni Òrìsà Àyàn ̣ ńpo ̣ t’enu rè ̣ ̣ sí’lè) ̣ best illustrates the interconnection of the drummers (àyàn) with god of drumming, Òrìsà Àyàn. As succinctly corroborated by Amanda Villepastour, “the ̣ drummer in action becomes Àyàn.” Another Yorùbá term for a drummer (àyàn) is onílù. 1 With their drumming (or drum music) that mimic the human speech, the Àyàn or Onílù verbalize words/speeches (òrọ̀ ) that is or are intelligible to the ears of their ̣ patrons, often the dance performers (oníjó). For that reason, ìlù, to the Yorùbá, is an instrument that acts as a speech surrogate (i.e., substitute). That the Yorùbá refer to ìlù as “the talking drum” underscores this assertion. In fact, they strongly believed that if handled by a skillful drummer (àyàn/onílù), ìlù, just like humans, can speak words or communicate effectively to those who understand the language of the drum. The Yorùbá phrase “a lifeless goat that speaks just like a human” (òkú-ewúré tíí fo ̣ ’hùn bí ènìyàn ̣ ), a euphemism for the goatskin fixed single- or double-headed hourglass drums that mimic human speech when drummed, is a testimony to ìlù as a true “talking drum.” Another Yorùbá saying that illustrates that ìlù is an instrument of language substitution is “that the gángan drum could speak in a human nasal tone of 1 Onílù is formed from two Yorùbá words oní and ìlù (literally, “owner of the drum” or “one who plays the drum”), a euphemism for the drummer. Thus, anybody that plays drum is an onílù. But those Yorùbá traditional professional onílù, like the dùndún and bàtá drummers, are specifically referred to as àyàn. Èdè Àyàn: The Language of Àyàn in Yorùbá Art and Ritual of Egúngún 3 voice is not without the help of the drummer’s own tip of the fingernails” (àti rán’mú gángan kò s’ẹ̀ yìn èékáná ̣ ). In Yorùbá traditional festivals, ritual performances, and religious practices in general, the role of àyàn whose drumming or drum music imitate and code the natural language (Yorùbá), cannot be overemphasized. The Yorùbá aphorism “without drum music, there is no way to celebrate” (láì sí’lù, taní jé ̣ s’eré òkúrùgbe!̣) is a testimony to the indispensable role of ìlù in the context of traditional Yorùbá visual and performance arts. A clear example is the Yorùbá art and ritual of Egúngún, the theme of this study. Paradoxically, many Yorùbá art scholars often make very little or no effort to explore the relevance of ìlù in their studies on Yorùbá visual culture, such as Egúngún. This has continued to make it become virtually impossible for a deeper understanding of Yorùbá art in particular and African art as a whole. Ironically, the same scholars prefer to invest their energy, searching outside of the art’s cultural origin to fulfil their primary goal of “appreciating” the African art, rather than searching within African culture, language and values, the very driving forces that gave rise to this art, and thus a catalyst to understanding it.2 It is on that note that I believe the question that scholars of African art should begin to ask themselves is: when will African art scholarship––unlike Western art studies that often demand intellectual rigor and professional thoroughness––rise above its present art “appreciating” status vis-à-vis African art? In my opinion, as this present study is aimed at confirming, the understanding of African art critically requires that scholars be fluent or at least confident in the reading, writing, and speaking of the language of the people whose art they study. Also heightening the problem of the lack of “understanding” of Yorùbá art is the very unique nature of it (as with other African art), in which an isolated work of art in context is a rarity. Thus, the present study examines the very indispensable roles of Àyàn drummers in the performance context of the annual Egúngún festival (odún Egúngún) in a Yorùbá community in Òkèigbó in Nigeria’s Ondo State. As a native speaker with access to Yorùbá philosophy, values and history, and who is fully aware of the fundamental importance of language in African art studies, I aim in this study to examine the mutual relationship existing between the Àyàn and Egúngún from the vantage point of the Yorùbá language, the medium through which the said Yorùbá philosophy, values and history are stored and expressed. It delves into the very root of Egúngún within the Yorùbá cultural context, where traditions and history are preserved and recorded not in the western-type of writing, but rather in the Yorùbá language, ritual performance and ceremonies. It is hoped that this study will facilitate a deeper understanding of Egúngún along with the 2 Personal communication with Professor Rowland Abíodún on April 2, 2017. 4 Oláwọlé Fámúlẹ̀ àyàn within the art and ritual performance context of the Odún Egúngún. The study illustrates the interconnection of the àyàn and Egúngún by first providing an overview of Yorùbá drums and their ritual contexts. This is followed by a close study of the Yorùbá ontological concept of Egúngún, one of the most valued patrons of Àyàn (the drummers), as an important form of Yorùbá religious beliefs and practices. Using the Egbé ̣ ̣ Òjẹ̀ ̣ (Cult of Egúngún) of the ancient Yorùbá town of Òkèigbó as a case study, the study concludes with an in-depth analysis of the role of Àyàn (Drummers) in Yorùbá art and ritual of Egúngún.

Abstract Based on the analysis of the results of combine harvester production tests and the long-term studies, carried out by the authors, the directions for increase in combine harvester productivity and in grain crop harvesting quality, are proposed. In three blocks of directions for increasing the combine harvester efficiency, a new direction of completing multifunctional harvesting units, joining together grain harvesting with simultaneous performance of one of the accompanying operations (stubble plowing, straw pressing, sowing catch crops, etc.), is found. The acquisition of multifunctional harvesting units is based on self-propelled, all-wheel-drive harvesters, trailed and mounted on a power unit such as “Palesse” (Belarus). The original unit can be completed on the basis of a “Penha” pull-type combine (Brazil). Among other directions of combine efficiency increasing, the observance of the rhythm and flow of the working process is substantiated, the attention is paid to the complex performance of the harvesting period. Attention is also paid to the obligatory coordination of the relationship between combine parameters and harvesting conditions: field size, crop yield, combine nominal performance, working speed, header cutting width. The following is an example of the effective operation of a rotary combine harvester in comparison with a beater-drum one and its significant influence on the winter wheat grain quality of strong varieties. It has been proved that due to reducing the grain injury by the rotary threshing-separating unit, post-harvest ripening and cleaning on thrashing floor, it is possible to increase the grain quality indicators by one class.

1. Seven upward eye velocity flocculus target neurons (FTNs) and two flocculus projecting neurons (FPNs) were studied before and after ipsilateral flocculus inactivation by injection of muscimol in the alert squirrel monkey. An additional seven FTNs and seven FPNs recorded from the corresponding FTN and FPN areas were recorded after injection. Response properties of FTNs and FPNs were characterized by visual-vestibular interaction paradigms and were compared before and after flocculus inactivation. 2. In FTNs the mean firing rate increased within 2-5 min after muscimol injection in the flocculus and reached a plateau level in approximately 10-20 min. The average mean firing rate for seven FTNs increased from 117 to 174 spikes/s, a net increase of 57 spikes/s (49%). Accompanying the large increase of the mean firing rate, a spontaneous nystagmus in the darkness developed with the slow phase directed upward and contralateral. 3. The firing rate modulation during visual following of a sinusoidal optokinetic drum (0.5 Hz) decreased within 2-5 min after muscimol injection in the flocculus and reached a level of 0 in approximately 10-20 min for all FTNs. After that, some cells remained unmodulated for the period of recording; other cells gradually reversed their phase and developed a modulation out of phase with drum velocity. The depletion of the visual following eye velocity signal on superior vestibular nucleus (SVN) FTNs accompanied a small but consistent decrease of visual following eye velocity amplitude. The average maximum decrease of eye velocity was 26 +/- 9% (mean +/- SD). 4. After flocculus inactivation, even though the modulation response at 0.5 Hz during visual following was abolished, a slow-component eye velocity signal with the same on direction was revealed by a constant-velocity optokinetic stimulus. It is concluded that there are at least two kinds of eye velocity signals during the optokinetic response. These signals are combined at the FTNs and are subsequently relayed to the oculomotor neurons. The source of the fast component is the flocculus, and the source of the slow component is another, as yet unidentified brain structure. 5. The effect of flocculus inactivation on the modulation amplitude during the vestibuloocular reflex (VOR) in darkness was variable: two cells did not change, two cells decreased, and three cells increased their amplitude. The response phase tended to move toward a phase lead, but the change was small. The effect on VOR suppression was more prominent.(ABSTRACT TRUNCATED AT 400 WORDS)

This research addresses the use of canine animals in substance abuse treatment. There is research that addresses the importance of animals regarding therapy and mental illness, as well as research on the comorbidity of severe mental illness and substance abuse disorder. However, there is no research that looks at utilizing canines in substance abuse therapy. The purpose of this research was to examine the utilization of canine animals in rehab for those with substance abuse issues. The theoretical foundation for this study is the theory of contextualism. This theory focuses on humans with animals. To address the gap in research, this quasi-experimental quantitative study looked at two independent variables, presence or absence of a canine during treatment, and gender. The method of data collection was obtaining charts of 130 discharged clients, along with retrieval of data regarding days authorized by insurance for treatment. Information was obtained on the number of days that the client stayed in treatment. There was a comparison of the numbers that created a standardization for treatment. There was not significant difference in the average duration of substance abuse treatment when comparing people who attend treatment with their canine compared to those who do not attend treatment with a canine nor was there a difference between the genders. This research may create positive social change by providing an alternative to substance abuse disorder treatment. Not only will this create a positive environment for the client, but it will also provide them the ability to have comfort in a critical time in their lives. This research shows that canines provide something to mankind that we cannot always provide to one another.

This thesis is in the form of a novel titled 'High Spirits' and an exegesis, 'Behind Dry Ink in Set Patterns'. The novel traces the life of an Australian girl from birth to her mid-teens. Rose Sommers is adopted by a couple who have returned from prisoner-of-war camps in Singapore after World War II. Set in the early 1960s, the narrative starts with Rose at thirteen running away from the family farm to Perth. The novel has six flashbacks in the first third to tell the story of how the parents adopted and treated her: her adoptive mother was unbalanced and her adoptive father was a weak man. When she arrives in Perth, the buildings and crowded streets terrify Rose, so she runs straight through to bushland in Kings Park. There she teams up with Bela, a Hungarian refugee-and from there she is on her own. Through periods of great deprivation, including drug addiction and the birth of two children, Rose is in constant battle with the law and bureaucracy. From a religious rebel to a spiritual seeker, from a bikie's moll to a folksinging star, Rose's fortunes fluctuate wildly. She has relationships along the way, but as usual with relationships of those adrift in society, these come to grief. In the end, Rose battles to return to a 'normal' life for the benefit of her child-a scenario so often 'true to life' in contemporary society. The exegesis comprises two independent but supportive essays. The first essay is autobiographical, exploring how I came to write a novel about a teenage girl in the 1960s with a drug problem. The second essay focuses on an exploration of the novel's similarities and differences to YA novels and how such literature can help shape a young person's thinking

Part A: Sound recordings -- Part B: Exegesis
This practice-based research project has investigated the different melodic approaches developed by selected jazz drummers as both soloists and accompanists, with the ultimate aim of incorporating these concepts into my own performance in a recital setting. I chose four drummers as the focus of this project: Max Roach, Roy Haynes, Bill Stewart and Ari Hoenig. Through transcription and analysis of recordings, I identified and classified the melodic concepts used by each drummer. Specific exercises were then composed for each melodic concept as a tool to aid their integration into my own playing. I practiced these exercises both in a small ensemble setting and independently, maintaining a sonic diary for each session. Reflecting on the successes and failures of each exercise helped guide the development of future exercises in an iterative process. The project has culminated in two one-hour recorded recital performances in which I led various small ensemble settings, and an exegesis.
Thesis (MPhil) -- University of Adelaide, Elder Conservatorium of Music, 2020

The mechanisms by which altered processing, distribution and secretion of proteolytic enzymes occur, facilitating degradation of the extracellular matrix in invasive and metastatic cells, are not fully understood. Studies on the MCF-10 A breast epithelial cell line and its premalignant, c-Ha-ras-transfected MCF-10AneoT counterpart have shown that the ras-transfected cell line has a more alkaline pH. The objective of this study was to determine which organelles of the endosome-lysosome route were alkalinized and shifted to the cell periphery after ras-transfection. Antibodies to the hapten 2,4-dinitrophenyl (DNP), required for pH studies, were raised in rabbits and chickens using DNP-ovalbumin (DNP-OVA) as immunogen. Cationised DNP-OVA (DNP-catOVA) was also inoculated to increase antibody titres. Anti-hapten and carrier antibody titres were assessed. In rabbits, cationisation seems useful to increase anti-DNP titres if a non-self carrier protein (OVA) is used. In chickens, cationisation of DNP-OVA seems necessary to produce a sustained anti-OVA (anti-self) response (implying a potential strategy for cancer immunotherapy). Oregon Green® 488 dextran pulse-chase uptake and fluorescent microscopy, and (2,4-dinitroanilino)-3'-amino-N-methyldipropylamine (DAMP) uptake, immunolabelling for DNP (a component of DAMP) and unique markers for the early endosome (early endosome antigen-I, EEAI), the late endosome (cation-independent mannose-6-phosphate receptor, CI-MPR) and the lysosome (small electron dense morphology and lysosome-associated membrane protein-2, LAMP-2) and electron mlcroscopy was performed. The pH of late endosomes and lysosomes in the ras-transfected MCF-10AneoT cell line were found to be relatively alkalinised and Iysosomes shifted toward the cell periphery. The acidic pH of late endosomes is required to release precursor cysteine and aspartic proteases from their receptors (e.g. CI-MPR), process the precursors to active proteases and to allow receptor recycling. The more alkaline pH observed potentially explains the altered processing of proteases in rastransfected cells. Alkalinisation ofthe cytosol may affect the cytoskeleton responsible for, among other things, the positioning and trafficking of various organelles, causing relocation of Iysosomes toward the cell periphery and actin depolymerisation. This may enable fusion of Iysosomes with the plasma membrane and the release of proteolytic enzymes, facilitating the observed invasive phenotype.
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

This chapter provides an introduction to Sinhala Buddhist music-making, focusing on the domain of drumming in religious ritual. These genres, with their accompanying dances, have become the most esteemed traditional music genres in Sri Lanka. The chapter also considers the ways that nationalism has influenced the use and placement of these genres, discussing a riot that broke out when Sinhala students agitated for Sinhala drumming to be performed at the head of a graduation ceremony at the Tamil-dominated University of Jaffna. The chapter provides basic information on drumming for the caste of drummers, dancers, and ritualists called the Beravā, and discusses the life and work of my drum teacher, a performer of the low-country Sinhala drum (pahata rata beraya, yak beraya).

A corollary of the high proportion of people who inject drugs cycling through prisons worldwide is the accompanying high prevalence of viral hepatitis, particularly hepatitis C (HCV). Prisons have the potential to either escalate or interrupt the transmission of viral hepatitis: prisons that do not provide access to even basic prevention programs are high-risk environments for viral hepatitis transmission. In contrast, prisons can also reduce prevalence through testing and treatment programs. This chapter provides an overview of the global prevalence and incidence of HCV and hepatitis B (HBV) in prisons and the occurrence of known transmission vectors, including injecting drug use, tattooing and other body modification practices, and unprotected sexual intercourse. It discusses policy and practice options to reduce the risk behaviors associated with HCV and HBV transmission, prevent transmission through vaccination, and potentially expand viral hepatitis treatment in prisons using new directly acting anti-viral medication, and the prospect of treatment as prevention.

This chapter discusses how the pharmaceutical industry’s actions affected the accomplishments of the Decade of Pain Control and Research, which began on January 1, 2001, following almost two decades of rising concern over the inadequate treatment of chronic pain in the United States. To tell the story of this decade we must describe the accompanying problem of drug diversion and abuse. The development in 1995 of a new opioid product called OxyContin, its aggressive marketing, the morbidity and mortality associated with its misuse, and the eventual felony conviction in 2007 of the drug’s sponsor for fraudulent claims and marketing practices, affected the Decade in unexpected ways. The response by Congress and the regulatory community to what they termed an “epidemic” of prescription drug abuse produced long-lasting policy changes. The chapter also touches on the peculiar and sometimes troubling relationship between the regulators and the regulated.

This fourth edition of the DSIB presents the main results of the research carried out under four broad-based projects jointly developed by researchers and actors involved in topics of great social relevance such as responsible gambling, Cooperative-Intelligent transport Systems, gender dimension of alcohol addiction and support and care for victims of trafficking for sexual exploitation. This issue comprises the following four briefings: 1. What would sports betting advertising be like if it were handled more responsibly? will analyse the structure of sports betting advertising, in an attempt to understand whether such advertising could become a public health issue. This briefing examines different works that have led to scientific publications and presents their main conclusions as well as the major recommendations for gambling companies and regulators. 2. How can artificial intelligence reduce road traffic accidents and prevent congestion? This briefing seeks to present the benefits of the TIMON system for optimising traffic management and urban transport network operations in cities, directly supporting transport managers in their decision-making processes for transport operations. 3. Gender inequalities in matters of drug addiction: how does alcoholism really affect women? aims to study the phenomenon of drug dependence from a gender perspective. This involves identifying what kind of socio-cultural and psychological representations are involved in women, according to their gender role, so that they develop a series of risk factors for them, both for the beginning of consumption and in its continuity. In addition, the research team proposes guidelines for a specialized care for women in this area, in order to increase the effectiveness of required interventions. 4. Key points for supporting and accompanying victims and survivors of human trafficking for sexual exploitation is intended as a working document for specialists involved in the prevention and detection of cases and in support and care for victims. It seeks to fill the current gaps and meet the needs of women victims of trafficking providing a better response to their situations.

AbstractQuantitative systems pharmacology (QSP) places an emphasis on dynamic systems modeling, incorporating considerations from systems biology modeling and pharmacodynamics. The goal of QSP is often to quantitatively predict the effects of clinical therapeutics, their combinations, and their doses on clinical biomarkers and endpoints. In order to achieve this goal, strategies for incorporating clinical data into model calibration are critical. Virtual population (VPop) approaches facilitate model calibration while faced with challenges encountered in QSP model application, including modeling a breadth of clinical therapies, biomarkers, endpoints, utilizing data of varying structure and source, capturing observed clinical variability, and simulating with models that may require more substantial computational time and resources than often found in pharmacometrics applications. VPops are frequently developed in a process that may involve parameterization of isolated pathway models, integration into a larger QSP model, incorporation of clinical data, calibration, and quantitative validation that the model with the accompanying, calibrated VPop is suitable to address the intended question or help with the intended decision. Here, we introduce previous strategies for developing VPops in the context of a variety of therapeutic and safety areas: metabolic disorders, drug-induced liver injury, autoimmune diseases, and cancer. We introduce methodological considerations, prior work for sensitivity analysis and VPop algorithm design, and potential areas for future advancement. Finally, we give a more detailed application example of a VPop calibration algorithm that illustrates recent progress and many of the methodological considerations. In conclusion, although methodologies have varied, VPop strategies have been successfully applied to give valid clinical insights and predictions with the assistance of carefully defined and designed calibration and validation strategies. While a uniform VPop approach for all potential QSP applications may be challenging given the heterogeneity in use considerations, we anticipate continued innovation will help to drive VPop application for more challenging cases of greater scale while developing new rigorous methodologies and metrics.

The lesson described in this chapter describes a physical computing project that allows students to create devices that trigger sounds and accompanying visuals in a computer program they code themselves. Designed for students in the sixth or seventh grade, this hands-on activity provides students experiences to learn key coding concepts such as iteration and events, basic circuitry, conductivity, teamwork, organization, and efficiency. By the completion of the activity, students will have designed and created a working musical instrument—a drum pad—made out of household materials such as cardboard and tinfoil that can trigger sampled sounds on their computers using a hardware device called Makey Makey and software called Scratch.

Drug use disorder refers to the presence of any of a collection of drug-specific diagnoses that are characterized by cognitive, behavioral, and physiological symptoms accompanying repeated use of a drug despite significant substance-related problems causing harm to the user or to others. Common drugs of abuse in contemporary American society include cannabinoids, opioids, amphetamines, cocaine, and many other drugs. The popularity of specific drugs has varied over time in relation to drug availability and cost. The most recent trend has been an influx of “designer drugs,” substances developed synthetically by manipulating the molecular structure to avoid classification as illicit drugs (hence circumventing prosecution) while retaining the psychoactive properties of illicit drugs.

This chapter environmental/toxicology contains 19 clinical Short Answer Questions (SAQs) with explanations and sources for further reading. Possible disorders and accompanying symptoms of environmental or toxic origin that may present in the emergency department include poisoning, serotonin syndrome, burns, drug overdose, heat stroke, and alcohol withdrawal, among many others. It will be up to the emergency doctor to assess, diagnose, and decide upon a treatment path for each patient. The cases described in this chapter are all situations any emergency doctor is likely to encounter at some point in his or her career. The material in this chapter will greatly aid revision for the Final FRCEM examination.

Factors interfering with market-based alignment of drug prices and value make explicit value assessment necessary. The widely used quality-adjusted life year serves as a starting point because it accounts for both quality and length of life. Cost estimates could improve by accounting for drug price changes accompanying the loss of market exclusivity. Consistent use of a societal perspective when relevant would also improve value assessments. Prices should sometimes reflect government contributions to development, although such adjustments make the most sense when government facilitates late-stage research. The Institute for Clinical and Economic Review, a private group with a leading role in US value assessment, should make its analyses transparent and defer to payers regarding judgements about value. Finally, payers should embrace value-based pricing. They may not always get the lowest prices, but aligning price and value will mean society expends its resources efficiently and improves the population’s overall health.

Eosinophilic pneumonia is characterized by eosinophilic inflammation of the alveoli, usually with an accompanying eosinophilia of peripheral blood. The diagnosis should be considered when infiltrates on a chest radiograph are associated with blood eosinophilia, and is confirmed by demonstrating an excess of eosinophils in bronchoalveolar lavage fluid. Before concluding that the cause is ‘idiopathic’, the following must be considered: parasitic infestation with blood-borne parasites such as (in tropical eosinophilia) filarial worms; adverse drug reaction; asthma; allergic bronchopulmonary mycosis; vasculitis, notably eosinophilic granulomatosis with polyangiitis (previously known as Churg–Strauss syndrome); hypereosinophilic syndrome, a rare haematological disorder; and other disorders known to be associated with eosinophilic pneumonia. Causal factors need to be treated, but eosinophilic pneumonia otherwise often responds well to corticosteroid medication.

Chapter 17 examines the Anti-Saloon League’s pivot to pressing for the Eighteenth (Prohibition) Amendment. In 1912 former president Theodore Roosevelt ran as a third-party Progressive against his handpicked Republican successor, William Howard Taft, as Taft had undermined Roosevelt’s signature Pure Food and Drug Act, which included purity standards on alcohol. The electoral split gave the presidency to Democrat Woodrow Wilson, who was agnostic toward prohibition. World War I and the accompanying “cult of military sobriety” strengthened prohibitionist sentiment, while the election of 1916 secured the legislative supermajorities needed for a prohibition amendment. Once passed in December 1917, the amendment was ratified with unprecedented speed by January 1919, to come into effect one year later. In the meantime, drys pushed for a “wartime prohibition” until demobilization was complete. With prohibition in America secured, activists looked abroad through the World League Against Alcoholism (WLAA) and its chief emissary, Pussyfoot Johnson.

This chapter draws attention to Nathalie Sarraute's publication of “The Age of Suspicion” in March 1956, which won her widespread recognition almost overnight. It reveals that a month after the Nathalie's novel appeared in bookshops, she was described in the accompanying publicity as “one of the most original and gifted writers of our time.” It also mentions that four of the six short texts which should have appeared in Volontés in 1939 and which Jean Paulhan had turned down for “Mesures,” were published under the title “Le cercle” in the December 1955 number of the Monde Nouveau. The chapter recounts the development of serious health problems for Nathalie in 1956, such as enduring a kidney stone operation. It discloses how Nathalie suffered a serious relapse of tuberculosis (TB) until she was referred to a specialist in drug-resistant strains of TB, Dr. Boris Kreis.

This chapter evaluates current treatment recommendations for antisocial personality disorder (ASPD) and the other disorders that frequently accompany it. The path to recovery has many barriers, including the infrequency with which ASPD is diagnosed and the fact that few antisocial persons seek treatment. Because there are no standard treatments for ASPD, it is essential to identify coexisting problems that can respond. A thorough evaluation should confirm the diagnosis of ASPD and seek evidence for accompanying depression, alcohol or drug addiction, attention-deficit/hyperactivity disorder (ADHD), or other disorders. Treating coexisting disorders—depression, for instance, may respond to medication—can help reduce antisocial behaviors and prepare the person for the more complicated task of addressing ASPD. With the diagnosis confirmed and the person agreeing to seek help, the psychiatrist then develops a treatment plan. This might include medication, such as the selective serotonin reuptake inhibitors (SSRIs), but almost always involves talk therapy. The chapter then considers the use of cognitive behavioral therapy in treating antisocial persons.

An exanthem (or exanthema) is a widespread skin rash accompanying a disease or fever. It usually occurs in children as part of a common systemic childhood viral infection, but can also occur in adults and can be caused by bacterial infections, toxin or drug reactions. An enanthem (or enanthema) is a rash that occurs in the mucous membrane, typically in the mouth, as the result of the same disease process of an exanthema. Because the presence of a rash is a very striking feature, historically, several of the commonly seen febrile illnesses associated with rash have been recognized and named in numerical order. There are various things to look out for when assessing a patient with exanthema. These can include the type and evolution of the rash, as well as contact, vaccine, drug, sexual, and travel history. ● Type of rash: ■ maculopapular; ■ vesicular; ■ petechial. ● Evolution of the rash: ■ prodrome, if any; ■ date of onset of fever; ■ date of onset of the rash; ■ progression of the rash (e.g. starting location and spread); ■ other associated features (e.g. conjunctivitis, lymphadenopathy, hepatosplenomegaly). ● Contact history: ■ history of contact with anyone with febrile or rash illness; ■ recent local outbreaks, if any; ■ contact with other vulnerable individuals before and after onset of illness (for infection control purposes). ● Vaccine history: ■ recent history of any vaccination; ■ previous vaccination history (particularly MMR and varicella); ■ timing of these vaccines and number of doses. ● Drug history: ■ including antibiotics given for the illness. ● Sexual history: ■ always consider this in any patient. ● Recent travel history: ■ record timing and location; ■ history of insect bites. A good description of the rash can help in narrowing down the possible causes. The commonly seen rashes can be maculopapular, vesicular, or petechial. Maculopapular rash can be further categorized into subtypes. These include: ● morbilliform—a red rash which is measles-like, two to ten mm in diameter, and which merge to form confluent patches.

The use of medicines implies a risk of damage to the patient. The danger of the use of a drug may be of a different nature, considering a chemical nature of the medical product, which also determines its pharmacological effect, thus disabling completely safe use of the drug. In fact, one should bear in mind the ambivalent effect of a drug which, besides therapeutic characteristic, has accompanying adverse effects on the health of the user, which is the risk one must count on. The institute of liability for damage (the responsible persons, the legal nature of the responsibility) is of particular importance for Serbian medical law, bearing in mind that it is not specifically regulated in the law. Further, this issue is complicated due to the fact that the implementation of the medical treatment involves a large number of persons: the doctor who prescribes the medicine, the drug manufacturer who issues the medicine, and the pharmacist who sells the drug. That is the reason why the liability for the damage using medicine, deserves special attention in the legal doctrine.

Many studies have investigated effects of drug administration and gene transfer to treat tumors in small animal models. Microcirculation plays important roles in the development and growth of tissues; a tumor proliferates by angiogenesis [1], resulting in the formation of a dense microvasculature, while the microvasculature degenerates in locations where necrosis or apoptosis occurs. Hence, the growth of a tumor can be evaluated based on comprehension of the morphology of microcirculation. Enhanced visualizations of small blood vessels enabled by microbubbles or contrast agent have been reported. The maximum intensity persistence (MIP) method, which maintains the maximum brightness when the contrast agent passes through the vessel, is a representative visualization method already incorporated in existing ultrasonic equipment. However, the performance of the MIP method is deteriorated by changes of brightness due to in vivo movement accompanying heartbeat and breathing. Therefore, complicated processes are necessary to eliminate the effects of such movement by monitoring heartbeat with an echocardiogram (ECG) and by detecting breathing with a pressure sensor.

Lomustin (CCNU) is a cytostatic drug that is used in the trea-tement of some forms of solid tumors and hemoblastosis. The most important form of toxicity associated with its use consists of thrombocytopenia often associated with hemorrhagic syndrome. Lomustin may exert its action on the formation of platelets, but it may also interfere with platelets themselves.In the present study its influence on the platelet function was investigated using a wide battery of tests.Platelet-rich plasma was incubated with lomustin (1,5 to 15 jjg/ml and 30 minutes at 37°C) in vitro.This inhibited strongly aggregation by ADP (2 × 10-6 M), adrenaline (2×10−6 M) and collagen (15 ¼g/ml). Platelet factor 4 release was almost completly inhibited independently of the inducer used. 14C-serotonin release was decreased by approximately 70% when incubation proceeded in the presence of 15 ¼g/ml of lomustin, and completly at higher concentration. Platelet factor 3 availability was also significantly impaired. Reptilase clot retraction was diminished, regardless of inducer used. In the presence of N-ethyl maleimide (1 mmol) significantLy lower malondialdehyde was produced in platelets incubated with lomustin, than in that from normal controls. After addition of arachidonic acid (1 mmol), the platelet synthesized Less thromboxane B2. Lomustin did not interfere with coagulation factors and did not induce overt fibrinolysis.Its is concluded that lomustin acts as an inhibitor of platelet functions and can induce an acquired thrombocytopathy.Thus impairement of platelet functions might play a part in hemorrhagic complications accompanying in some cases lomustin therapy.

Synthetic dyes are widely used in textile, printing, leather tanning, cosmetic, drug and food processing industries. The printing and dyeing industry is considered as one of the most polluting industrial sectors. The printing process is very versatile and includes printing on paper as well as printing on textile, plastic and other materials. After the printing process is completed, various chemicals such as ethers, alcohols, phenols, aldehydes, ketones, benzene, and esters are used in the cleaning procedure. Resulting wastewater often contains a variety of solvents, surfactants, dyes, and other chemicals, thus greatly increasing the difficulty of wastewater treatment. Improper discharge of printing and dyeing wastewater into water bodies will have several effect, beginning with aesthetical issues followed by destruction of the aqueous ecosystem due to light attenuation, oxygen consumption and toxicity effects. Therefore, it is very important to find out and optimize printing and dying wastewater treatment techniques. Processes for dye removal from wastewater can be physical, chemical, biological and more recently hybrid treatments. Physical processes such as adsorption, based on mass transfer mechanism, are commonly used method mainly due to ease of operation and high efficiency. Chemical processes including coagulation and flocculation, advanced oxidation processes and electrochemical treatment are usually more expensive due t chemicals use, equipment requirements and electrical energy consumption. However, these techniques are destructive and may lead to total mineralization of dye molecules and accompanying pollutants. Biological treatment is a low-cost and environmentally friendly process that produces less sludge. This method has significant advantages but dye molecules are less prone to this kind of treatment as they are made to be stable and reluctant. So, the adjustment and optimization of biological treatment, for dye removal, is an ongoing field of research. In recent studies hybrid processes are gaining more attention, combining different techniques. Integrating treatments, as a cost-saving and time-saving process, can represent optimal solution for printing wastewater treatment.

A series of self-guided walking tours through pioneering scientific research in medicine, biology, forensics, nursing and dentistry from the past to the present. Dundee is now celebrated internationally for its pioneering work in medical sciences, in particular the University of Dundee’s ground-breaking research into cancer, diabetes, drug development and surgical techniques. But the city has many more amazing stories of innovation and discovery in medicine and biology, past and present, and the three walking tours presented here will introduce you to some of the most extraordinary. Basic information about each topic is presented on this map, but you will ­find more in-depth information, images and videos on the accompanying website at uod.ac.uk/DundeeDiscoveriesMap For younger explorers, we have also included a Scavenger Hunt – look out for the cancer cell symbols on the map and see if you can ­find the various features listed along the way!