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Journal articles on the topic 'Quintettes'

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Published: 7 July 2024

Last updated: 7 July 2024

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1

Costa, Adriana. "Tiger Rag na interpretação do Le Quintette du Hot Club de France: história, análise e práticas de performance." Per Musi, no. 23 (June 2011): 82–88. http://dx.doi.org/10.1590/s1517-75992011000100009.

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Estudo sobre a assimilação do jazz na cultura popular francesa dos anos de 1930 e criação de uma sociedade de entusiastas desse estilo, especialmente em torno do Le Quintette du Hot Club de France. A transcrição e análise de Tiger Rag, música dos membros da Original Dixieland Jazz Band (Nick La Rocca, Eddie Edwards, Tony Sbarbaro, Larry Shields e Harry da Costa) na interpretação do Le Quintette (LE QUINTETTE DU HOT CLUB DE FRANCE, 1934, remasterizado em 1993) revela suas práticas de performance, especialmente de seus solistas: Django Reinhardt, no violão, e Stephane Grappelli, no violino.

2

Marun, Nahim. "O modernismo no estilo musical tardio de Gabriel Fauré: aspectos estilísticos e formais do Primeiro Movimento do Deuxième Quintette pour Piano et Cordes Op.115." Per Musi, no. 21 (2010): 34–42. http://dx.doi.org/10.1590/s1517-75992010000100005.

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Análise dos aspectos estilísticos da última fase composicional de Gabriel Fauré, focando sobre aspectos harmônicos, contrapontísticos, rítmicos e formais encontrados no Primeiro Movimento do Deuxième Quintette pour Piano et Cordes Op.115.

3

Johns, Donald, Alain Weber, Laszlo Dubrovay, Andre Ameller, Giovanni Zanetti, Ivan Jevtic, and Yvonne Desportes. "Liminaire pour quintette de cuivres." Notes 42, no. 3 (March 1986): 655. http://dx.doi.org/10.2307/897364.

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4

O'Loughlin, Niall. "Wind Quintets." Musical Times 126, no. 1714 (December 1985): 738. http://dx.doi.org/10.2307/965213.

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5

O'Loughlin, Niall. "Clarinet Quintets." Musical Times 128, no. 1730 (April 1987): 214. http://dx.doi.org/10.2307/965437.

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6

O'Loughlin, Niall. "Wind Quintets." Musical Times 129, no. 1746 (August 1988): 411. http://dx.doi.org/10.2307/965984.

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7

Anderson, Robert. "Quartets, Quintets." Musical Times 126, no. 1706 (April 1985): 228. http://dx.doi.org/10.2307/962190.

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8

O'Loughlin, Niall. "Modern Wind Quintets." Musical Times 128, no. 1734 (August 1987): 443. http://dx.doi.org/10.2307/965020.

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9

O'Loughlin, Niall. "Early Wind Quintets." Musical Times 130, no. 1755 (May 1989): 288. http://dx.doi.org/10.2307/966329.

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10

Swift, Richard G., and George Perle. "Complete Wind Quintets." American Music 7, no. 2 (1989): 235. http://dx.doi.org/10.2307/3052219.

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11

Byrne, Frank, Frigyes Hidas, Dan Welcher, Sydney Hodkinson, and Pierre-Petit. "Quintetto d'ottoni (Brass Quintet)." Notes 41, no. 4 (June 1985): 788. http://dx.doi.org/10.2307/940891.

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12

Black, Leo. "Franz Schmidt: Piano Quintets." Musical Times 134, no. 1803 (May 1993): 282. http://dx.doi.org/10.2307/1002457.

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13

The Editors. "Thompson: Quintets with Variations." ICGA Journal 16, no. 2 (June 1, 1993): 86–90. http://dx.doi.org/10.3233/icg-1993-16204.

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14

Drabkin, William, and Cliff Eisen. "Four Viennese String Quintets." Music and Letters 83, no. 1 (February 1, 2002): 175–77. http://dx.doi.org/10.1093/ml/83.1.175.

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15

Paul, Matthew J., Premananda Indic, and William J. Schwartz. "Social synchronization of circadian rhythmicity in female mice depends on the number of cohabiting animals." Biology Letters 11, no. 6 (June 2015): 20150204. http://dx.doi.org/10.1098/rsbl.2015.0204.

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Communal animals often engage in group activities that require temporal synchrony among its members, including synchrony on the circadian timescale. The principles and conditions that foster such collective synchronization are not understood, but existing literature hints that the number of interacting individuals may be a critical factor. We tested this by recording individual circadian body temperature rhythms of female house mice housed singly, in twos (pairs), or in groups of five (quintets) in constant darkness; determining the daily phases of the circadian peak for each animal; and then calculating the cycle-to-cycle phase relationship between cohabiting animals over time. Significant temporal coherence was observed in quintets: the proportion of quintets (4/7), but not pairs (2/8), that became synchronized was greater than could be achieved by the complete simulated reassortment of all individuals. We speculate that the social coupling of individual circadian clocks of group members may be adaptive under certain conditions, and we propose that optimal group sizes in nature may depend not only on species-specific energetics, spatial behaviour and natural history but also on the mathematics of synchronizing assemblies of weakly coupled animal oscillators.

16

Nicholls, David. "Quintette for Piano and Strings, op. 92 (review)." Notes 63, no. 4 (2007): 938–40. http://dx.doi.org/10.1353/not.2007.0085.

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17

Heard, Douglas C., and Kathryn L. Zimmerman. "Fall supplemental feeding increases population growth rate of an endangered caribou herd." PeerJ 9 (March 9, 2021): e10708. http://dx.doi.org/10.7717/peerj.10708.

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Most woodland caribou (Rangifer tarandus caribou) populations are declining primarily because of unsustainable predation resulting from habitat-mediated apparent competition. Wolf (Canis lupus) reduction is an effective recovery option because it addresses the direct effect of predation. We considered the possibility that the indirect effects of predation might also affect caribou population dynamics by adversely affecting summer foraging behaviour. If spring and/or summer nutrition was inadequate, then supplemental feeding in fall might compensate for that limitation and contribute to population growth. Improved nutrition and therefore body condition going into winter could increase adult survival and lead to improved reproductive success the next spring. To test that hypothesis, we fed high-quality food pellets to free-ranging caribou in the Kennedy Siding caribou herd each fall for six years, starting in 2014, to see if population growth rate increased. Beginning in winter 2015–16, the Province of British Columbia began a concurrent annual program to promote caribou population increase by attempting to remove most wolves within the Kennedy Siding and the adjacent caribou herds’ ranges. To evaluate the impact of feeding, we compared lambdas before and after feeding began, and to the population trend in the adjacent Quintette herd over the subsequent four years. Supplemental feeding appeared to have an incremental effect on population growth. Population growth of the Kennedy Siding herd was higher in the year after feeding began (λ = 1.06) compared to previous years (λ = 0.91) and to the untreated Quintette herd (λ = 0.95). Average annual growth rate of the Kennedy Siding herd over the subsequent four years, where both feeding and wolf reduction occurred concurrently, was higher than in the Quintette herd where the only management action in those years was wolf reduction (λ = 1.16 vs. λ = 1.08). The higher growth rate of the Kennedy Siding herd was due to higher female survival (96.2%/yr vs. 88.9%/yr). Many caribou were in relatively poor condition in the fall. Consumption of supplemental food probably improved their nutritional status which ultimately led to population growth. Further feeding experiments on other caribou herds using an adaptive management approach would verify the effect of feeding as a population recovery tool. Our results support the recommendation that multiple management actions should be implemented to improve recovery prospects for caribou.

18

Thomson, Andrew, Cesar Franck, Joel-Marie Fauquet, Camille Saint-Saens, and Sabina Teller Ratner. "Solo de Piano avec accompagnement de quintette a cordes." Musical Times 133, no. 1798 (December 1992): 640. http://dx.doi.org/10.2307/1002526.

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19

Jones, Elena S., Michael P. Gillingham, Dale R. Seip, and Douglas C. Heard. "Comparison of seasonal habitat selection between threatened woodland caribou ecotypes in central British Columbia." Rangifer 27, no. 4 (April 1, 2007): 111. http://dx.doi.org/10.7557/2.27.4.325.

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Woodland caribou (Rangifer tarandus caribou) in British Columbia have been classified into ecotypes based on differences in use of habitat in winter. Although recovery planning focuses on ecotypes, habitat use and selection varies within ecotypes. Our objectives were to compare habitat use and selection among previously identified woodland caribou herds at the transition zone between northern (Moberly, Quintette, and Kennedy herds) and mountain (Parsnip herd) ecotypes in central British Columbia. We developed selection models for each herd in spring, calving, summer/fall, early and late winter. Topographic models best predicted selection by most herds in most seasons, but importance of vegetation-cover was highlighted by disproportionate use of specific vegetation-cover types by all caribou herds (e.g., in early winter, 75% of Kennedy locations were in pine-leading stands, 84% of Parsnip locations were in fir and fir-leading stands, and 87 and 96% of locations were in alpine for the Moberly and Quintette herds, respectively). Using a combination of GPS and VHF radio-collar locations, we documented some spatial overlap among herds within the year, but use of vegetation-cover types and selection of elevations, aspects, and vegetation-cover types differed among herds and within ecotypes in all seasons. Habitat use and selection were most similar between the two northern-ecotype herds residing on the eastern side of the Rocky Mountains. This research indicates that habitat use and selection by caribou herds in all seasons is more variable than ecotype classifications suggest and demonstrates the value of undertaking herd-specific mapping of critical habitat for woodland caribou.

20

Chaput, J. C., and C. Switzer. "A DNA pentaplex incorporating nucleobase quintets." Proceedings of the National Academy of Sciences 96, no. 19 (September 14, 1999): 10614–19. http://dx.doi.org/10.1073/pnas.96.19.10614.

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21

Carls, Alice-Catherine, and Karl Dedecius. "Lyrisches Quintett: 5 Themen der polnischen Dichtung." World Literature Today 67, no. 3 (1993): 634. http://dx.doi.org/10.2307/40149469.

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22

Wright, Tom. "The Five Quintets by Micheal O'Siadhail (review)." Studies: An Irish Quarterly Review 108, no. 430 (June 2019): 229–32. http://dx.doi.org/10.1353/stu.2019.0023.

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23

Briscoe, James R., and Charles Koechlin. "Quintette, Op. 80; pour 2 Violons, Alto, Violoncelle et Piano (oeuvre posthume)." Notes 45, no. 1 (September 1988): 150. http://dx.doi.org/10.2307/941408.

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24

Ford, Luan, and Jane W. Davidson. "An Investigation of Members’ Roles in Wind Quintets." Psychology of Music 31, no. 1 (January 2003): 53–74. http://dx.doi.org/10.1177/0305735603031001323.

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25

Guzsvinecz, Tibor, Éva Orbán-Mihálykó, Cecília Sik-Lányi, and Erika Perge. "The Effects of Display Parameters and Devices on Spatial Ability Test Times." Applied Sciences 12, no. 3 (January 26, 2022): 1312. http://dx.doi.org/10.3390/app12031312.

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The effects of display parameters and devices are examined on spatial ability test times in virtual environments. Before the investigation, completion times of 240 and 61 students were measured, using an LG desktop display and the Gear VR, respectively. The virtual environment also logged the following randomized display parameters: virtual camera type, field of view, rotation, contrast ratio, whether shadows are turned on, and the used display device. The completion times were analyzed using regression analysis methods. Except for the virtual camera type, every factor has a significant influence on the test completion times. After grouping the remaining factors into pairs, triplets, quartets, and quintets, the following can be concluded: the combination of 75° field of view, 45° camera rotation, and 3:1 contrast ratio has the largest increase in completion times with an estimate of 420.88 s—even when this combination is in-side a quartet or a quintet. Consequently, significant decreases in completion times exist up to variable quartets (the largest being −106.29 s on average), however, the significance disappears among variable quintets. The occurrences of factors were also investigated: an undefined field of view, a 0° camera rotation, the Gear VR, a 7:1 contrast ratio, and turned-on shadows are the factors that occur in most significant combinations. These are the factors that often and significantly influence completion times.

26

Costa, Adriana. "Tiger Rag (1917) na performance do Le Quintette du Hot Club de France (1934)." Per Musi, no. 23 (June 2011): 89–92. http://dx.doi.org/10.1590/s1517-75992011000100010.

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27

Rosen, Jerome, Heinrich Joseph Baermann, Harald Strebel, Louis Cahuzac, and Jacques Lancelot. "Konzert (Quintett), Es-dur, Op. 23; fur Klarinette und Orchester." Notes 45, no. 2 (December 1988): 388. http://dx.doi.org/10.2307/941376.

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28

Subhashini, D., and D. Velmurugan. "Integrated direct method with isomorphous replacement – second neighbourhood of quintets." Acta Crystallographica Section A Foundations of Crystallography 52, a1 (August 8, 1996): C53. http://dx.doi.org/10.1107/s0108767396096912.

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29

Clausius, Katharina. "Narratives of Structural Pacing in Mozart's String Quartets and Quintets." KronoScope 9, no. 1-2 (2009): 61–80. http://dx.doi.org/10.1163/156771509x12638154745463.

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AbstractThe sonata and rondo forms of Mozart's chamber music for strings rely on specific temporal-spatial dynamics that evade simple comparison to generic structural models. I rely on an understanding of the dual interaction of “real” and “musical” time, here defined as musical “pacing,” in order to examine the role of temporality in the linear narratives of typical late eighteenth-century forms. The linguistic theory of syntax and paratax proposed by structuralist Ferdinand de Saussure suggests a critical perspective clarifying the interdependent dynamics that define Mozartian forms. Within this structuralist context, the linearity of temporal progression ultimately escapes through music's vertical moment of resolution. The temporal impulse of Mozart's tonal structures both defines and liberates itself through his narratives of musical pacing.

30

Marková, Ivana. "On solos, duets, quartets, and quintets: A response to Gardner." New Ideas in Psychology 10, no. 2 (July 1992): 215–21. http://dx.doi.org/10.1016/0732-118x(92)90031-t.

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31

O’Brien, Eugene. "“Our world is interwoven”: Micheal O’Siadhail and The Five Quintets." Études irlandaises, no. 49-1 (April 12, 2024): 115–29. http://dx.doi.org/10.4000/etudesirlandaises.18138.

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32

J.S. "Chamber Music: Complete String Quintets (Study Score)Chamber Music: Complete String Quintets (Study Score). MozartW. A.. Urtext. Bärenreiter-ürtext, Revised edition, 2001, 8 Euros." American String Teacher 53, no. 3 (August 2003): 120–21. http://dx.doi.org/10.1177/000313130305300350.

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33

Kraus, Joseph C. "Mozart's chromatic third relations: Evidence from the late quartets and quintets." Journal of Musicological Research 9, no. 4 (March 1990): 229–54. http://dx.doi.org/10.1080/01411899008574618.

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34

Deighton, N., S. M. Glidewell, B. A. Goodman, and S. G. Deans. "The chemical fate of the endogenous plant antioxidants carvacrol and thymol during oxidative stress." Proceedings of the Royal Society of Edinburgh. Section B. Biological Sciences 102 (1994): 247–52. http://dx.doi.org/10.1017/s0269727000014172.

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SynopsisThe major antioxidants present in the essential (volatile) oils of oregano (Origanum vulgare, L.), summer savory (Satureja hortensis, L.) and thyme (Thymus vulgaris, L.) have been identified as carvacrol and thymol which have both been demonstrated to possess fungicidal and bactericidal properties. EPR spectra produced upon oxidation are inconsistent with the expected phenoxy free radicals (RO), but resemble those of galvinoxyl and anthronyl radicals. The EPR spectrum, in the case of carvacrol, is a pair of quintets with isotropic splittings, 0.325 and 0.080 millitesla (mT). ENDOR and TRIPLE resonance experiments have been performed and are indicative of the paramagnetic species being a substituted anthronyl. Further studies are being conducted to characterise these species and to investigate their potential roles during oxidative stress.

35

Anosova, J. P., L. G. Kiseleva, and V. V. Orlov. "On Dynamical Non-Stationarity of the Galaxy Systems." International Astronomical Union Colloquium 132 (1993): 161–69. http://dx.doi.org/10.1017/s0252921100066033.

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AbstractBy the computer simulations we have studied a behaviour of the virial coefficient k(t) for the triples and quintets of galaxies as a function of time. In a number of cases some quasiperiodical oscillations k(t) have been observed; these variations are resulted from an existence of the temporary binary subsystems. Strong negative correlation between k and rmin (rmin is a minimum separation between the bodies) is observed. A presence of a large hidden mass Mn distributed around a triple increases the degree of stochasticity of the process k(t) and decreases the correlation between k and rmin. The process k(t) must not been considered as a random one, as the autocorrelation function does not show any decreasing of the oscillation amplitude with a grow of time.

36

Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.

37

Badley, Allan. "Viable Texts or Reliable Texts? The Earliest Editions of Pleyel's String Quintets." Fontes Artis Musicae 69, no. 2 (April 2022): 68–81. http://dx.doi.org/10.1353/fam.2022.0007.

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38

Schmidt, Matthias. "Das Andere der Aufklarung. Zur Kompositionsasthetik von Mozarts Glasharmonika-Quintett KV 617." Archiv für Musikwissenschaft 60, no. 4 (2003): 279. http://dx.doi.org/10.2307/4145426.

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39

Hurley, John R., and Loren A. Brooks. "Primacy of Affiliativeness in Ratings of Group Climate." Psychological Reports 62, no. 1 (February 1988): 123–33. http://dx.doi.org/10.2466/pr0.1988.62.1.123.

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Relationships among the 12 items of MacKenzie's (1983) short Group Climate Questionnaire (GCQ-S) were examined from two perspectives. All 25 members of four small groups and 9 nonparticipant observers separately supplied 75 GCQ-S protocols for varied group sessions that were compared for items' correlations and mean differences. Similarities overshadowed the differences between ratings by members and observers although members consistently rated group sessions more favorably than observers. Both data sets featured positively intralinked but negatively interlinked quintets of items designated Affiliative and Disaffiliative This 10-item Affiliativeness composite fully coincided with the main findings of prior studies by Slough and Hurley and Brooks. Superseding MacKenzie's Avoiding, Conflict, and Engaged GCQ-S miniscales, Affiliativeness parallels the affiliation/evaluation factor central to mote comprehensive group-climate inventories and also closely resembles the interpersonal domain's prepotent affiliation dimension.

40

Lapierre, A., and É. J. Knystautas. "High-spin inner-shell excited states in few-electron neon: quintets and sextets." Journal of Physics B: Atomic, Molecular and Optical Physics 33, no. 12 (June 8, 2000): 2245–64. http://dx.doi.org/10.1088/0953-4075/33/12/307.

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41

Sola Chagas Lima, Eduardo. "The Role of Proportion in the First-Movement Expositions of Mozart's String Quintets." Revista Vórtex 2, no. 1 (June 30, 2014): 48–61. http://dx.doi.org/10.33871/23179937.2014.2.1.447.

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This study aims at discussing the role of balance and proportion in the expositional scope within a Classical Sonata Form movement. While using the approach, model and labels proposed by James Hepokoski and Warren Darcy in Elements of Sonata Theory (2006), it also challenges the application of some of their analytical tools. Throughout this study, special attention is given to different treatments of expositional spaces, including a few significantly difficult cases for the repertoire. The intention here is to observe the interaction between these spaces in light of the dual function in the expositional trajectory: (1) to fulfill the harmonic requirement in destabilizing the tonic key; and (2) to attain a rhetorically reasonable organization of thematic material (HEPOKOSKI; DARCY, 2006, p.18). For this purpose, a careful examination of the medial caesura and the essential expositional closure is also taken into account throughout the present analysis. Finally, however limited the repertoire range used in this specific research, the present study fosters the idea of proportion and balance as feasible arguments (among many others) not only in determining the dimensions of expositional spaces, but also in the holistic process of analyzing entire Classical sonata forms as hermetic units.

42

Mizener, Brendon, and W. Jay Dowling. "Real-Time Modulation Perception in Western Classical Music." Music Perception 39, no. 5 (June 1, 2022): 484–502. http://dx.doi.org/10.1525/mp.2022.39.5.484.

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The task of music listening involves an auditory scene analysis in which the listener makes judgments related to melody, harmony, and consonance or dissonance, all of which are made within the context of key or tonic region. Here we examine whether the process of tracking key region is independent of the process of tracking surface cues, and what surface cues may influence that process. To this end, highly trained, moderately trained, and untrained listeners listened to excerpts from string quartets, quintets, and sextets from the classical and romantic eras and responded when they heard a modulation. Each excerpt featured either a pivot chord modulation, a direct modulation, a common tone modulation, or no modulation. Listeners performed above chance across modulation conditions, and an interaction effect was observed for modulation type and participant training level. We also present an exploratory PCA that suggests that harmonic language and phrasing are both significant factors in guiding modulation perception, both of which merit further investigation.

43

ÜNSAL, MITHAT. "PANDORA'S BOX AND NON-SELFDUAL TOPOLOGICAL EXCITATIONS." International Journal of Modern Physics A 25, no. 02n03 (January 30, 2010): 278–88. http://dx.doi.org/10.1142/s0217751x10048603.

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In the last few years, we have realized the existence of a new class of topological excitations, which are rather distinct from the platonic world of monopoles, monopole-instantons and instantons. All of the latter arise as solutions of the Prasad-Sommerfield type first order differential (self-duality) equations and have been extensively discussed in the context of confinement and chiral symmetry breaking for the last 30 years. However, new calculable deformations of asymptotically free chiral and vector-like gauge theories give us a new picture of these physical phenomena. Most often, the excitations which lead to confinement are not solutions to PS-type equations, they are non-selfdual and they are often bizarre. They are referred to as magnetic bions, triplets, and quintets, due to their composite nature. Bizarre as they are, combined with large-N volume independence, these novel non-self-dual excitations may also provide hope that at least some non-abelian gauge theories may be solvable.

44

Phillippo, Simon. "Symphonic Momentum and Post-tonal Dramas: Simpson's First Symphony." Tempo, no. 209 (July 1999): 2–6. http://dx.doi.org/10.1017/s0040298200014613.

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Robert Simpson died on 21 November 1997, leaving behind him an impressive body of works. At its core are 11 symphonies and 15 string quartets; also three concertos, two string quintets, sonatas, some choral music, even some much admired pieces for brass band. While a thoroughly individual, music-as-process modernism imbues all he wrote, the prevailing image of Simpson is that of the conservative classicist, clinging to the apparent certainties of antiquated forms and diatonic tonality – a view that begins to some extent with the composer himself. He is widely known for his influential writings on Beethoven, Nielsen, and Bruckner among others; writings that, along the way, fiercely and polemically extol the enduring virtues of symphonic composition, manifestly swimming against the tide of contemporary music of the mid-century. Simpson's symphonism was always ideologically opposed to the post-war trends towards total mechanization, as much as to the experiments with extreme irrationality and chance in the 1960s.

45

Donaldson, James. "TOPICS, DOUBLE CODING AND FORM FUNCTIONALITY IN THOMAS ADÈS'S PIANO QUINTET." Tempo 75, no. 298 (October 2021): 41–51. http://dx.doi.org/10.1017/s0040298221000383.

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AbstractThis article interrogates the formal and expressive roles of the opening horn-call topic in Thomas Adès's Piano Quintet (2001). Although William Caplin describes the relationship of topics to form as ‘rather tenuous’, he notes that some topics have a ‘likely’ formal relation.1 Within this, he includes the rising horn call as an initiating function. Drawing upon Charles Jencks’ influential concept of double coding, which describes a sign's ‘attempt to communicate with both the public and a concerned minority’,2 I show how the Piano Quintet's horn-call opening satisfies, on one level, the familiar (tonal) initiating formal function that Caplin describes but, understood in the context of two significant reversals of the horn call's characteristic rising contour to descending horn fifths (the openings of Beethoven's ‘Les Adieux’ sonata and Ligeti's Horn Trio), Adès's opening can be understood as transgressive. This Janus-faced interpretation of the opening bars engages both positively and critically with these references to the past, a double-coded understanding which points to Adès's continued popularity in both academic and concert spheres.

46

Day, Stephen J. "Small-scale field evaluation of geochemical blending of waste rock to mitigate acid rock drainage potential." Geochemistry: Exploration, Environment, Analysis 22, no. 1 (November 29, 2021): geochem2021–066. http://dx.doi.org/10.1144/geochem2021-066.

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Blending of potentially acid generating (PAG) waste rock with non-PAG waste rock to create a rock mixture which performs as non-PAG is a possible approach to permanent prevention of acid rock drainage (ARD) for PAG waste rock. In 2012, a field weathering study using 300 kg samples was implemented at Teck Coal's Quintette Project located in northeastern British Columbia, Canada to test the prevention of acid generation in the PAG waste rock by dissolved carbonate leached from overlying non-PAG waste rock and direct neutralization of acidic water from PAG waste rock by contact with non-PAG waste rock.After eight years of monitoring the experiments, the layered non-PAG on PAG barrels provided proof-of-concept that as the thickness of the PAG layer increases relative to the thickness of the non-PAG layers, acidic waters are more likely to be produced. The PAG on non-PAG layering has resulted in non-acidic water and no indications of metal leaching despite accelerated oxidation in the PAG layer shown by sulfate loadings. The study has demonstrated that the scale of heterogeneity of PAG and non-PAG materials is a critical consideration for providing certainty that rock blends designed to be non-PAG will perform as non-PAG in perpetuity. This is contrary to the standard paradigm in which an excess of acid-consuming minerals is often considered sufficient alone to ensure ARD is not produced.

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Cole, Suzanne. "‘As Much by Force of Circumstances as by Ambition’: The Programming Practices of the Melbourne Liedertafel Societies, 1880–1905." Nineteenth-Century Music Review 2, no. 2 (November 2005): 107–32. http://dx.doi.org/10.1017/s1479409800002226.

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Two male-voice singing societies – the Metropolitan Liedertafel and the Melbourne Liedertafel – occupied prominent positions in the concert life of Melbourne during the prosperous 1880s. At this time the Metropolitan Liedertafel, formed in 1870, had between 80 and 100 performing members and regularly attracted audiences of over two thousand to its ‘Social Evenings for Ladies and Gentlemen’. A concert described as the ‘greatest gathering of its kind every [sic] seen in this city’, given at the recently completed Exhibition Buildings on 7 July 1881 and attended by the Princes Albert Victor and George, drew a crowd of between five and six thousand. The farewell concert given on 13 February 1882 for the Mendelssohn Quintette Club, visiting from Boston, had an audience of approximately two thousand, even though as one of the society's ‘smoke nights’, attendance was limited to men. The Metropolitan Liedertafel played host to a number of other visiting international musicians, including Henri Kowalski, August Wilhelmj, Carlotta Patti, Ernest de Munck, and, somewhat later, Sir Charles and Lady Hallé. In the early 1880s, the Metropolitan was identified as the city's leading musical society; an 1881 review in the Argus made so bold as to suggest that it was ‘the most successful association of its kind ever established here – or probably anywhere else’! This sentiment is reflected in a satirical piece in Town Talk in October 1881 in which the Metropolitan's conductor, Julius Herz, refers to himself, in a mock German accent, as ‘the subreme conductor of the greatest musical organisation in the vorld“.

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ICHIM, Mihai, and Stela DRAGULIN. "Evaluation of the stylistic path of authors of concertos composed for double bass and orchestra in XVIII-XX centuries." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 113–22. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.12.

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The choice of the following subject is conditioned by the artistic practice itself. The double bass not only being today an indispensable element of symphony and chamber orchestras, of different instrumental ensembles (trio, quartets, quintets, etc.), but also as a soloistic instrument, whose expressive possibilities as a soloist and participant in the instrumental dialogue reveals the genre of concerto for this instrument. The concerto has been and remains an object widely explored both by musical practice, through the creation of composers and the work of performers, and by musicological science by examining the most diverse aspects of the genre in numerous studies conducted by researchers in different countries. The dialogic character of narrating, the highlighting of the solo interpretation, and the realization of the principal of the artistic act are most frequently called as specific features of the concerto. The genre of the instrumental concerto is a suitable field for the investigation and experiments of the composers, for the manifestation of the artistic potential of the performers, as well as for the application of the analytical abilities of the researchers.

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Willoughby, Angela. "Ernő Dohnányi, Piano Quintets Op. 1 & 26Claves 50-1505, 2015 (1 CD: 52 minutes)." Nineteenth-Century Music Review 16, no. 02 (October 30, 2018): 306–7. http://dx.doi.org/10.1017/s1479409818000290.

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Malthaner, Richard, Edward Yu, Michael Susmoy Sanatani, Debra Lewis, Andrew Warner, A. Rashid Dar, Brian P. Yaremko, et al. "The quality of life in neoadjuvant versus adjuvant therapy of esophageal cancer treatment trial (QUINTETT)." Journal of Clinical Oncology 37, no. 15_suppl (May 20, 2019): 4052. http://dx.doi.org/10.1200/jco.2019.37.15_suppl.4052.

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4052 Background: We compared the health-related quality-of-life (HRQOL) of standard neoadjuvant cisplatin and 5-FU chemotherapy plus radiotherapy (N) followed by surgical resection to adjuvant cisplatin, 5-FU, and epirubicin chemotherapy with concurrent extended volume radiotherapy (A) following surgical resection for resectable esophageal carcinoma. Methods: 96 patients with stage I to III resectable cancer of the esophagus were enrolled into a prospective randomized trial (NCT00907543) from April 2009 to November 2016. Patients were randomized into 2 groups: N (47 cases) and A (49 cases). The primary end point was HRQOL using the FACT-E at one year. The secondary endpoints included other HRQOL measures, overall survival (OS), disease-free survival (DFS), and adverse events. Results: The median follow-up was 5.0 years [95% CI :4.6 to 5.5]. The majority of patients had adenocarcinomas of the distal esophagus/gastroesophageal junction (80.9% vs 87.8%). The stage distribution was: I 9%; II 22%; III 58%; TxN0-1 10%. Using an intention-to-treat analysis there was no significant difference in the FACT-E total scores between arms at one year (p = 0.759), with 35.5% vs. 41.2% respectively showing an increase of ≥ 15 points ( a priori minimal clinical difference) compared to pre-treatment (p = 0.638). The HRQOL was temporarily significantly inferior at 2 months in the N arm for FACT-E, EORTC OG25, and EQ-5D-3L in the dysphagia, reflux, pain, taste, and coughing domains (p < 0.05). There were no 30-day mortalities but 2.1% vs. 10.2% 90-day mortalities (p = 0.204). There were no significant differences in either 5-year OS (37.9% vs 28.9%, p = 0.321) or DFS (34.0% vs 25.5%, p = 0.551. 48.9% of patients required chemotherapy to be modified or stopped in the N arm compared to 57.1% in the A arm (p = 0.421). 51.1% of patients were able to complete the prescribed N arm chemotherapy without modification compared to only 14.3% in the A arm (p < 0.001). Chemotherapy related adverse events significantly more frequent in the neoadjuvant arm (p < 0.05). Surgery related adverse events were significantly more frequent in the neoadjuvant arm (p < 0.05). Conclusions: Trimodality therapy is challenging for patients with resectable esophageal cancer regardless if it is given before or after surgery. Less toxic protocols are needed. Clinical trial information: 00907543.