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Everett, William A., Karen R. Little, and Stewart R. Craggs. "Frank Bridge: A Bio-Bibliography." Notes 51, no. 2 (December 1994): 611. http://dx.doi.org/10.2307/898893.
Earle, Ben. "Modernism and Reification in the Music of Frank Bridge." Journal of the Royal Musical Association 141, no. 2 (2016): 335–402. http://dx.doi.org/10.1080/02690403.2016.1216045.
ABSTRACTDrawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's notion of musical ‘reification’. A comparative analysis of the complementary modernism of Bridge's contemporary Ralph Vaughan Williams is also put forward, and a critical light shone on recent writing on British musical modernism in general.
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FILATOV, G. V. "INHABITED BRIDGE OF THE XX CENTURY." Urban construction and architecture 1, no. 3 (September 15, 2011): 9–11. http://dx.doi.org/10.17673/vestnik.2011.03.2.
This article shows the formation process of inhabited bridge during the twentieth century. First building-bridge was erected in 1962. It is Marin County Civic Center by Frank Lloyd Wright. In 1991 Stock Exchange was constructed in London by SOMs project. It is first square-bridge. In 1997 first inhabited bridge of еру twentieth century was erected in Moscow.
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Earle, Ben. "The Music of Frank Bridge. By Fabian Huss." Music and Letters 97, no. 2 (May 2016): 358–60. http://dx.doi.org/10.1093/ml/gcw042.
Britten's first masterpiece, A Boy was Born, paid tribute to the English choral tradition which had played so prominent a part in our musical history, albeit with a technical virtuosity very different from the manners, if not the modes, of conventional British pastoralism. Although A Boy was Born is not strictly speaking a religious work, it is about the burgeoning of life in innocence, and Britten's ‘cleverness’ involved a knack of discovering musical images that ‘enact’ aurally and even physically the visual images of the poems: a marvellous instance of which is the simultaneously burning and freezing major and minor seconds that aurally ‘realize’ the Bleak Mid-Winter of Christina Rosetti's poem.
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Landesberg, Amir, and Samuel Sideman. "Regulation of energy consumption in cardiac muscle: analysis of isometric contractions." American Journal of Physiology-Heart and Circulatory Physiology 276, no. 3 (March 1, 1999): H998—H1011. http://dx.doi.org/10.1152/ajpheart.1999.276.3.h998.
The well-known linear relationship between oxygen consumption and force-length area or the force-time integral is analyzed here for isometric contractions. The analysis, which is based on a biochemical model that couples calcium kinetics with cross-bridge cycling, indicates that the change in the number of force-generating cross bridges with the change in the sarcomere length depends on the force generated by the cross bridges. This positive-feedback phenomenon is consistent with our reported cooperativity mechanism, whereby the affinity of the troponin for calcium and, hence, cross-bridge recruitment depends on the number of force-generating cross bridges. Moreover, it is demonstrated that a model that does not include a feedback mechanism cannot describe the dependence of energy consumption on the loading conditions. The cooperativity mechanism, which has been shown to determine the force-length relationship and the related Frank-Starling law, is shown here to provide the basis for the regulation of energy consumption in the cardiac muscle.
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Milani-Nejad, Nima, Ying Xu, Jonathan P. Davis, Kenneth S. Campbell, and Paul M. L. Janssen. "Effect of muscle length on cross-bridge kinetics in intact cardiac trabeculae at body temperature." Journal of General Physiology 141, no. 1 (December 31, 2012): 133–39. http://dx.doi.org/10.1085/jgp.201210894.
Dynamic force generation in cardiac muscle, which determines cardiac pumping activity, depends on both the number of sarcomeric cross-bridges and on their cycling kinetics. The Frank–Starling mechanism dictates that cardiac force development increases with increasing cardiac muscle length (corresponding to increased ventricular volume). It is, however, unclear to what extent this increase in cardiac muscle length affects the rate of cross-bridge cycling. Previous studies using permeabilized cardiac preparations, sub-physiological temperatures, or both have obtained conflicting results. Here, we developed a protocol that allowed us to reliably and reproducibly measure the rate of tension redevelopment (ktr; which depends on the rate of cross-bridge cycling) in intact trabeculae at body temperature. Using K+ contractures to induce a tonic level of force, we showed the ktr was slower in rabbit muscle (which contains predominantly β myosin) than in rat muscle (which contains predominantly α myosin). Analyses of ktr in rat muscle at optimal length (Lopt) and 90% of optimal length (L90) revealed that ktr was significantly slower at Lopt (27.7 ± 3.3 and 27.8 ± 3.0 s−1 in duplicate analyses) than at L90 (45.1 ± 7.6 and 47.5 ± 9.2 s−1). We therefore show that ktr can be measured in intact rat and rabbit cardiac trabeculae, and that the ktr decreases when muscles are stretched to their optimal length under near-physiological conditions, indicating that the Frank–Starling mechanism not only increases force but also affects cross-bridge cycling kinetics.
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Siry, Joseph M. "Building as Bridge: Frank Lloyd Wright’s Marin County Civic Center." Art Bulletin 101, no. 3 (July 3, 2019): 115–45. http://dx.doi.org/10.1080/00043079.2019.1564179.
This study traces the stylistic development of the string quartets. The opening chapter shows the way that his personal idiom emerged in the earliest works. It also explains the analytical approach that has been used. The concept of symmetrical orderings fusing separate elements has been evident in music from all stages of Bridge's output. Overall tonal relationships have linked with inner tonal relationships as well as thematic ideas and chord structures. In addition, symmetry has drawn together the two aspects of Bridge's language, the traditional and the radical, and shown how the way that they are balanced is subtly changed in the course of his development as a composer. The music is explained from two approaches to symmetry, linear and circular. The ascending chromatic scale can be divided symmetrically by a number of intervals, notably seconds and thirds and tritones. Symmetrical orderings of two or more of these intervals are commonly found. The twelve semitones can also be arranged as a circle of fifths and it is this that has been most significant to the study. By adding tonal definition to these pitches, the circle of fifths explains this aspect of the music and also how certain pitches are interchangeable with one another. Therefore, the circle of fifths has also been a useful tool in explaining Bridge's concept of extended tonality. The main part of the study discusses the second and third quartets in depth as they represent the peak of Bridge's creative output and are at the centre of important stylistic changes. The final chapter briefly shows the way that his language continued to develop in the abandoned work and the fourth, and last. quartet.
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Harrison, Robin Granville. "The late style of Frank Bridge." Thesis, Bangor University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409654.
Huss, Fabian Gregor. "The chamber music of Frank Bridge." Thesis, University of Bristol, 2011. http://hdl.handle.net/1983/4bfd9bcb-632d-468d-817a-c68a27dd7ebf.
Hopwood, Paul Andrew. "Frank Bridge and the English pastoral tradition." University of Western Australia. School of Music, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0017.
This study's thesis is that instances of pastoralism in the works of Frank Bridge from 1914 to 1930 demonstrate a gradual darkening of his pastoral vision, and evince his increasingly complex relationship with the genre of pastoral music that flourished in English music in the early twentieth century (referred to in this study as 'the English pastoral tradition'). The study traces the change from the sensual and romantic idyll of Summer (1914-15), through progressively more ambiguous and darker manifestations of pastoral, and eventually to a bleak anti-pastoral vision in Oration (1930). This trend reflects Bridge's increasingly ambivalent relationship with the English musical establishment, his own radical change of musical language during these years, and significant changes in his personal circumstances. It also reflects the decline of romanticism and the rise of modernism in English music, a paradigm-shift that happened around the time of World War I, considerably later than in the music, literature and visual art of continental Europe. Chapters 1 to 3 examine the English pastoral tradition from three different contexts. Chapter 1 suggests that the English pastoral tradition may be understood as a genre, and describes a number of 'family resemblances' that run through and characterise it. Second, the English pastoral tradition is placed in the context of pastoral art from Classical times to the twentieth century, with a focus on pastoral in English literature. Finally, chapter 3 examines the social and cultural context of the English pastoral tradition and explores resonances between English society in the early twentieth century and the meaningstructures that underpin pastoral. The remaining chapters comprise a series of analytical discussions of six of Frank Bridge's works: Summer (1914-5), the first of the Two Poems (1915), Enter Spring (1926-7), There is a willow grows aslant a brook (1927), Rhapsody-Trio (1928) and Oration (1930). While a variety of analytical techniques are employed, the approach is broadly semiotic and focussed on musical meaning. Each analysis traces the relationships between signifying structures in the works and various musical and non-musical strands of the contextualising cultural discourse. As a result the works become the starting points for relatively wide-ranging discussions in which pastoralism in the music of Frank Bridge is understood as a site at which ideas of English nationalism and international modernism engaged with one another. Frank Bridge's place in this discourse, as revealed in the analyses of his works, becomes increasingly ambivalent and modernist.
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Yoo, Kyungjin. "Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538701/.
English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.
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Amos, Mark. "'A Modernist in the Making'? : Frank Bridge and the Cultural Practice of Music In Britain, 1900-1941." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522834.
Birnbaum, Sara Gardner. "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/7.
In the western classical tradition, the violoncello has developed a reputation for its soulful, vocal qualities. Because of this distinction, many composers have written elegiac works for the cello. This document comprises studies of three twentieth-century British elegies for cello and piano, each explored against a backdrop of poetic, societal and musical influences. The results reveal several common tropes of mourning, both musical and extra-musical, which can be applied to further studies of musical works.
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Pulcastro, Hannah C., Peter O. Awinda, Mei Methawasin, Henk Granzier, Wenji Dong, and Bertrand C. W. Tanner. "Increased Titin Compliance Reduced Length-Dependent Contraction and Slowed Cross-Bridge Kinetics in Skinned Myocardial Strips from Rbm20ΔRRM Mice." FRONTIERS MEDIA SA, 2016. http://hdl.handle.net/10150/621415.
Titin is a giant protein spanning from the Z-disk to the M-band of the cardiac sarcomere. In the I-band titin acts as a molecular spring, contributing to passive mechanical characteristics of the myocardium throughout a heartbeat. RNA Binding Motif Protein 20 (RBM20) is required for normal titin splicing, and its absence or altered function leads to greater expression of a very large, more compliant N2BA titin isoform in Rbm20 homozygous mice (Rbm20(Delta RRm)) compared to wild-type mice (WT) that almost exclusively express the stiffer N2B titin isoform. Prior studies using Rbm20(Delta RRm) animals have shown that increased titin compliance compromises muscle ultrastructure and attenuates the Frank-Starling relationship. Although previous computational simulations of muscle contraction suggested that increasing compliance of the sarcomere slows the rate of tension development and prolongs cross-bridge attachment, none of the reported effects of Rbm20(Delta RRm) on myocardial function have been attributed to changes in cross-bridge cycling kinetics. To test the relationship between increased sarcomere compliance and cross-bridge kinetics, we used stochastic length-perturbation analysis in Ca2+-activated, skinned papillary muscle strips from Rbrn20<^>R'Rm and WT mice. We found increasing titin compliance depressed maximal tension, decreased Ca2+-sensitivity of the tension-pCa relationship, and slowed myosin detachment rate in myocardium from Rbm20(Delta RRm) vs. WT mice. As sarcomere length increased from 1.9 to 2.2 mu m, length-dependent activation of contraction was eliminated in the Rbrn20<^>R'Rm myocardium, even though myosin MgADP release rate decreased similar to 20% to prolong strong cross-bridge binding at longer sarcomere length. These data suggest that increasing N2BA expression may alter cardiac performance in a length-dependent manner, showing greater deficits in tension production and slower cross-bridge kinetics at longer sarcomere length. This study also supports the idea that passive mechanical characteristics of the myocardium influence ensemble cross-bridge behavior and maintenance of tension generation throughout the sarcomere.
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Kennett, Christian. "The harmonic species of Frank Bridge : an experimental assessment of the applicability of pitch-class generic theory to analysis of a corpus of works of a transitional composer." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262644.
Hsu, Hui-pin. "Form in Frank Bridge's three phantasies." Thesis, City University of New York, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561222.
From 1905 to the mid-1930s, British music (chamber music in particular) enjoyed the enlightened patronage of Walter Willson Cobbett (1847-1937), who supported and sponsored competitions for short, one-movement, chamber works titled "phantasy." There are opposing views as to what forms these phantasies exemplify. On the one hand, Charles Villiers Stanford and J.A. Fuller-Maitland claimed that these twentieth-century phantasies exemplify one specific form, although their descriptions of that form are not completely compatible with each other. On the other hand, Ernest Walker and David Maw have argued that modern British phantasies display a variety of forms.
This dissertation examines the forms of the three phantasies composed by Frank Bridge (1879-1941): the Phantasie String Quartet (1905), the award-winning Phantasie Piano Trio (1907), and the Phantasy Piano Quartet (1910). Bridge, who taught Benjamin Britten, is unarguably one of the most important composers of modern British phantasies. I argue here that Bridge applies three different formal models in his three phantasies: the Phantasy String Quartet is a super-sonata in which the first and third parts constitute a mirror-form sonata, while the second part is ternary; the Phantasie Piano Trio is subject to two equally valid readings: a two-dimensional sonata form and an ABCBA arch form; and the Phantasy Piano Quartet is an ABCBA arch. My findings thus lend credence to those such as Walker and Maw who deny that there is a single formal type for the British phantasy. Nevertheless, although Bridge's three phantasies differ in form, they each exhibit the use of arch-like structures. The evolution of form in Bridge's three phantasies suggests that the symmetry of the arch became more useful to him compositionally than conventional sonata or rondo forms. The preference for symmetrical design continues into Bridge's later works.
Bridge, Frank R. CD-ROM technology for libraries: Participant workbook : a workshop presented by Frank R. Bridge and C. Rebecca Garcia of the Library Development Division, Texas State Library. [Austin, Tex.]: Texas State Library, 1988.
Sommer, Andreas Urs, Nikiaus Peter, and Frank Bestebreurtje. "Briefe." In Franz Overbeck: Werke und Nachlaß, 1–463. Stuttgart: J.B. Metzler, 2008. http://dx.doi.org/10.1007/978-3-476-00013-2_1.
Goldblum, Sonia. "Dialogische Werkstatt des neuen Denkens – Franz Rosenzweig in seinen Briefen." In Briefe als Laboratorium der Literatur im deutsch-jüdischen Kontext, 115–30. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737012966.115.
Lichtblau, Klaus. "Die Frankfurter Briefe von Franz Oppenheimer an Ferdinand Tönnies (1919 – 1926)." In Zyklos 1, 399–409. Wiesbaden: Springer Fachmedien Wiesbaden, 2014. http://dx.doi.org/10.1007/978-3-658-03960-8_17.
Schiffermüller, Isolde. "»Mein ganzes Wesen ist auf Litteratur gerichtet«. Zum Briefwerk von Franz Kafka." In Briefe als Laboratorium der Literatur im deutsch-jüdischen Kontext, 97–114. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737012966.97.
Walravens, Hartmut. "Franz Blei als Verlagsberater Die Briefe Bleis an den Verleger Julius Zeitler." In 2009, 1–52. Berlin, New York: Walter de Gruyter, 2009. http://dx.doi.org/10.1515/9783598441837.1.
Brown, Stephanie. "Finding the “Necessary Anguish”." In Rediscovering Frank Yerby, 147–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827821.003.0008.
Critics have been content to summarize Frank Yerby’s extensive oeuvre by claiming that after unsuccessful attempts to publish “This is My Own,” a protest novel, Yerby shifted his focus to “costume novels” centered on white characters in exotic settings. Critics continue by noting that in 1969 Yerby suddenly produced Speak Now, a novel centered around the story of a Black American expatriate musician who falls in love with a white Southern heiress. Some critics mention that between 1946 and 1969 Yerby produced a second “protest” novel, “The Tents of Shem,” which was twice rejected by publishers. The connection between Yerby’s first unpublished protest novel and his second, however, has never been explored. This chapter argues that “Tents” plays a crucial role in the evolution of Yerby’s work. “The Tents of Shem” is a bridge between early and late Yerby, one that helps to delineate both the continuity and the development of his politics and his art.
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Downes, Stephen. "Modern Maritime Pastoral: Wave Deformations in the Music of Frank Bridge." In British Music and Modernism, 1895–1960, 93–108. Routledge, 2017. http://dx.doi.org/10.4324/9781315096070-5.
Schillig, Michael. "Private Sector Transfer, Bridge Bank, and Asset Separation." In Resolution and Insolvency of Banks and Financial Institutions. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198703587.003.0013.
The assisted transfer of the viable parts of a failing institution’s business to a private sector purchaser, or the temporary transfer to a bridge bank, are well-tested bank resolution tools. The same is true for the ‘good bank/bad bank’ model, where performing assets are separated from non-performing assets and the latter are parked in a separate entity until market conditions have stabilized. This chapter analyses the European legal framework for the sale of business, bridge bank, and assets separation tools, as well as their implementation in the UK and Germany. The experience with similar tools under the US FDIC receivership regime for depository institution and their extension under Title II of the Dodd–Frank Act will be used as a comparative reference point.
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Bashford, Christina. "Medium and Message." In Over Here, Over There, 15–36. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042706.003.0002.
Musical responses to the sinking of the Lusitania (1915)—a watershed in World War 1—appeared on both sides of the Atlantic. In Britain, Frank Bridge composed his Lament for string orchestra, dedicated to Catherine Crompton, a child who had perished along with her entire family. The piece, performed professionally in London, was written for a type of ensemble that was popular with wealthy amateur women string players. Since strings were associated with the expressivity of the human voice and were becoming understood as having therapeutic properties, Bridge’s music may be considered a “lullament” for its combination of elements of lullaby and lament. This hybrid genre of grief further carried gendered and class-ridden meanings. The work reinforced and transcended British cultural and musical norms and boundaries.
Conference papers on the topic "Frank Bridge":
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Capellán, Guillermo, Hector Beade, Pablo Alfonso, Jorge López, and Víctor García. "Design and Construction of Frank Gehry Bridge. First access to the new Island of Zorrotzaurre in Bilbao, Spain." In IABSE Congress, Stockholm 2016: Challenges in Design and Construction of an Innovative and Sustainable Built Environment. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2016. http://dx.doi.org/10.2749/stockholm.2016.2654.
Waldin, Jeremy, and Ben Baty. "Recovering the Waiho – Emergency response and recovery of the Waiho River Bailey Bridge." In IABSE Congress, Christchurch 2021: Resilient technologies for sustainable infrastructure. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/christchurch.2021.0537.
<p>Waiho – (verb) (-ngia,-tia) <i>to let be, leave alone, put, place, ignore.</i></p><p>SH6 Waiho Bailey Bridge is located just south of Franz Josef township in the South Island of New Zealand and is a critical connection for the West Coast. The Bailey bridge was first constructed in 1990 and has since been raised and extended three times due to significant aggradation of the riverbed. During a massive storm event on March 26, 2019 the northern abutment and northern- most pier were washed out leading to collapse of several spans of the bridge. The cost caused by the loss of the bridge was estimated to be in the order of $2-3M per day. Consequently, there was intense pressure on Waka Kotahi NZ Transport Agency to restore access across the river.</p><p>As Team Leader and Deputy Team Leader of the West Coast Bridge Management Contract, Jeremy Waldin and Ben Baty led the $6.5M emergency recovery managing an emergency response team which worked across multiple organisations to recover this 170m long bridge in just 18 days.</p>
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Lebarbe´, T., D. Hyvert, S. Marie, O. Gelineau, D. Bonne, and Frantz De La Burgade. "Presentation of RCC-MRx Code 2010 for Sodium Reactors (SFR), Research Reactor (RR) and Fusion (ITER): General Overview and CEN-Workshop." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57614.
A draft of the fifth edition of the RCC-MR code, named RCC-MRx 2010, has been issued in French and English versions on December 2010 by AFCEN (Association Franc¸aise pour les re`gles de Conception et de Construction des Mate´riels des Chaudie`res Electro-nucle´aires). This RCC-MRx Code is the result of the merger of the RCC-MX 2008 developed in the context of the research reactor Jules Horowitz Reactor project, in the RCC-MR 2007 which set up rules applicable to the design of components operating at high temperature and to the Vacuum Vessel of ITER. This is a non-public document established in order to prepare the fifth edition which will be published in French and English by AFCEN and will be named RCC-MRx 2012. By this next edition, AFCEN try to bring together all the relevant stakeholders in a CEN-Workshop (CEN-WS-MRx) in order to develop, on the RCC-MRx basis, the European code for the design and fabrication of mechanical equipments for ESNII innovative nuclear installations. This CEN Workshop (whose duration is 18 months, from January 2011) will allow the Workshop members to consider the RCC-MRx 2010 and to propose modifications to be included in the RCC-MRx 2012 edition to meet the needs of MYRRHA and ASTRID projects and to prepare the design and construction of ALFRED and ALLEGRO. This paper presents the code evolutions from the 2007 edition of the RCC-MR and describes the organization of the Workshop.
