Letteratura scientifica selezionata sul tema "Composers – England"

Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.

The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac—his three-part Benedictus and the four-part La my—together with a number of other Franco-Flemish “songs without words” typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his three-part Der Hundt) and Alexander Agricola (his three-part Cecus non judicat de coloribus) that were also transmitted in textless format. The fact that these latter two pieces were published in Hieronymus Formschneider's Trium vocum carmina (Nuremberg, 1538) while Cornyshe's Fa la sol was published in XX Songes (London, 1530) shows that this type of repertoire was still prized several years after the composers' deaths. Analysis of musical connections between the work of Isaac and Cornyshe, as evident in pieces such as those from Henry VIII's Book—in particular, techniques employed by the composers to extend the structures of their “songs without words”—sheds fresh light on the reception in England of Isaac's music and that of his continental contemporary Agricola. Relevant considerations include the context in which these pieces were anthologized together and the introduction into England of viols similar to those Isaac may have known in Ferrara in 1502, when La my was composed. Such pieces are representative of a typical courtly repertoire that developed into the riches of the later Tudor instrumental consort music.

AbstractThis study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn from the 2017/18 concert seasons of 10 major English orchestras, 1 week’s play lists from two classical music radio broadcasters and the programmes from the last four London Promenade seasons. The study found that female and BME students were well represented in elite music education, but they were very poorly represented in the professional repertoire, where 99% of performed pieces were by white composers and 98% by male composers. Applying Bourdieu’s concepts of doxa and illusio, the study concluded that inclusion in classical music in England allowed female and BME musicians to play, but structures in the field maintained a repertoire that continues to be white and male and does not recognise the contributions of female and BME composers. This suggests that inclusion for female and BME musicians is limited and the field continues to promote white and male dominance in its cultural values.

As one of the most notable American woman composers of the early 20th Century, Amy Beach had to struggle with her social role as a woman born into the middle class of New England, USA. Before marrying into the upper class, she was already established as a concert pianist. Her husband pressured her not to perform in public, which affected her emotionally and compositionally. This paper will re-evaluate the work of Amy Beach within the context of her struggles as a woman composer and more specifically focus on her synesthesia and how it influenced her choice of keys and modes within her music. The colors of her keys will be compared to affects according to color psychology, as well as affects of key signatures.

The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.

This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.

Abstract This article is the result of a comprehensive study of folia grounds—usually known as Farinel’s Ground in England—published, copied in or otherwise connected with England, a list of which is provided. A discussion of general characteristics as well as of typical melodic, harmonic and rhythmic features of folia grounds from this period is followed by a comparative analysis of all English folias. These form relatively distinct groups of sources that often share strains, suggesting patterns of transmission particular to division grounds. Lastly, the order of strains in a number of versions is discussed in conjunction with principles outlined in Christopher Simpson’s The Division-Violist (London, 1659) and Thomas Mace’s Musick’s Monument (London, 1676), shedding light on what theorists and composers at the time thought about large-scale structure in division grounds, and in ground-bass compositions in general.

If it is Indeed the case that there is a landscape of the soul which song inhabits, few would dissent from the view that in England in 1900 it was a dead land. The ‘aesthetic tension’ between poetry and music which had stimulated Schubert, Schumann, and Wolf seemed entirely absent, and there was no English Eichendorff or Mörike. Stephen Banfield has asserted that English composers at this time aspired only to produce a ‘frictionless entity’ by providing a ‘pianistic’ accompaniment to Rupert Brooke's or Mathew Arnold's words.

In reforming psalmody in early nineteenth-century New England, participants in the so-called “Ancient Music” movement imported the solemnly refined hymn tunes and scientific rhetoric of Europe. This transatlantic exchange was in part the result of European travels by a generation of young members of the American socioeconomic and intellectual elite, such as Joseph Stevens Buckminster and John Pickering, whom scholars have not previously associated with hymnody reform. This study asserts that non-composers, particularly clergy and academics, played a crucial role in the “Ancient Music” movement, and offers a fuller picture of a little-examined but critical period in the history of American psalmody. Tracing the transatlantic voyages of figures like Buckminster and Pickering reveals that the actions and perspectives of active participants in the Atlantic world shaped “Ancient Music” reform and that hymnody reform was part of a broader project of cultural and intellectual uplift in New England.

Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.

The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women??s engagement with feminism. I examine feminists?? regard for women musicians and conversely composing women??s views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise H??ritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth??s sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women??s political and personal context enables an understanding not only of their contribution to music history, but also of their place within the greater history of women??s development.

Thesis (PhD) -- University of Stellenbosch, 2000.
ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition The aim of this thesis is to assemble the 109 secular songs of John Blow in one anthology, to transcribe them into modem notation and in doing so to make them accessible for modem use and further research. A significant feature of this collection is a group of 13 songs which have not been printed previously and which are available only in manuscript form in special collections in Great Britain. Other songs published during Blow's lifetime are likewise found in special collections which are not accessible to the public. Many of these songs are hard to decipher because of ageing. In some cases the paper is so thin that the notes show through from the back to the detriment of readibility. Where the manuscripts as well as contemporary publications exist, significant comparisons could be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118 manuscript could be compared with the published version in Choice Ayres and Songs printed by Godbid and Playford (jnr) in 1683. An important 'discovery' was finding that an autograph manuscript, Ah me, undone! (Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw (1980), but an excerpt from the song Happy the Man who languishing (1700). This made it possible to compare an original manuscript by Blow with a publication of the same song by Playford. The 20th century has seen renewed interest in Blow's work: Frederick George Edwards (1902) and William Cummings (1908), in particular, started this revival in interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was responsible for the next phase. Since 1975, Bruce Wood has been the main researcher of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London and Peter Holman, director of the Parley of Instrument, have contributed greatly to the recent (1987-1999) revival of interest in Blow's music with their performances and recordings making use of original instruments. This thesis, as well as my Master's thesis (Grobler 1993), forms part of the most recent stage of research into Blow's works. Volume 1: In the first chapter of the thesis the secular song of the English Restoration (1660- 1714) is presented in perspective. Blow's stylistic characteristics as they manifest themselves in his secular songs are discussed. The criticism that this style evoked from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French and Italian vocal music, as well as the strong influence of Charles II's preferences on . court composers' music, are highlighted. The function of the song in Restoration society is discussed. In the second chapter Blow's contribution to the different song types are discussed in detail: the solo songs, songs for two voices and dialogues, songs for more than two voices and songs for incidental theatre music. The editorial process followed in transcribing the songs is explained. This is based on the methods suggested in Caldwell (1985) and described in the Musica Britannica. A discussion of the performing practice of the song contributes towards understanding the Restoration song. The textual commentary deals with aspects, such as notation and provides more information about the manuscripts and publications which form the basis of this investigation. A systematic index of sources and songs is provided. Volume 2: In this volume the 109 songs are presented chronologically in modem edited form. The songs reflect the original manuscript or publication as clearly as possible; old English spelling has been retained but archaic English letter forms have been modernised. Clef signs, time signatures, and key signatures, as well as accidentals, have been used according to modem practice. The figured bass is given as featured in the sources and is not realised or expanded.
AFRIKAANSE OPSOMMING: Die sekulêre liedere van John Blow (1649-1708): 'n edisie Die hoofdoel van die proefskrif is om John Blow se 109 sekulêre liedere toeganklik te maak vir uitvoerings- en navorsingsdoeleindes deur hulle vir die eerste keer as een versameling bymekaar te bring, getranskribeer in moderne musieknotasie. Van besondere belang is die insluiting van dertien van Blow se liedere wat nog nie voorheen gepubliseer is nie en slegs in manuskripvorm in spesiale versamelings in Engeland beskikbaar is, en liedere wat wel tydens Blow se lewe gepubliseer is, maar eweneens nie toeganklik is vir die algemene publiek nie. Die leesbaarheid van sommige liedere word bemoeilik as gevolg van die ouderdom en toestand van die papier. In 'n paar gevalle is die papier so dun dat die agterste notebeeld deurslaan en die leesbaarheid erg belemmer. Waar 'n manuskrip en kontemporêre weergawe van 'n lied bestaan, kon betekenisvolle vergelykings getref word. 'n Belangrike 'ontdekking' wat gemaak is, is dat die outograaf-manuskrip vanAh me, Undone (Lbl Add. 31457) nie 'n afsonderlike lied is soos wat Watkins Shaw (1980) dit gelys het nie, maar 'n gedeelte is van die lied Happy the man, who languishing (1700). Dit maak dit moontlik om in dié een geval Blow se oorspronklike komposisie te vergelyk met Playford se gepubliseerde weergawe daarvan. Dit is eers gedurende die twintigste eeu dat belangstelling in Blow se musiekgeleidelik begin posvat het. Frederick George Edwards (1902) en veral William Cummings (1909) het 'n belangrike rol in die Blow-herlewing gespeel. Harold Watkins Shaw neem vanaf 1936 die leiding met Leland Clarke (1949), 'n Amerikaner, wat die die volgende fase verteenwoordig. Bruce Wood staan vanaf 1975 aan die voorpunt met sy navorsing oor Blow se Anthems. Anthony Rooley, direkteur van die Consort of Musicke in Londen asook Peter Holman, direkteur van die Parley of Instruments het vanaf 1987 met hulle uitvoerings en opnames 'n groot rol gespeel om Blow se musiek weer aan die publiek bekend te stel. Hierdie tesis, asook my Magister-verhandeling (Grobler 1993) vorm ook deel van hierdie nuwe belangstelling in Blowen Engelse Restourasie-musiek. Volume 1: In die eerste hoofstuk word die sekulêre lied van die Engelse Restourasie-era (1660- 1714) in perspektief geplaas. Saam met 'n bespreking oor bydraes van John Blow, Henry Purcell en hulle tydgenote tot die genre, word die ontwikkeling van die lied en uitvoeringspraktyke daarvan krities ondersoek. Terselfdertyd word insae verkry in die' tydgenootlike liedpublikasies in Engeland gedurende die laat 17de en vroeg 18de eeu. Daarna volg 'n bespreking van Blow se styleienskappe soos dit veral in die sekulêre lied manifesteer. Kritiek wat Blow se werkswyse deur die eeue van musiek-kritici soos bv. Charles Burney (1726-1814) uitgelok het, word in historiese perspektief geplaas. Blow se bydrae tot die verskillende liedtipes word breedvoerig bespreek: die sololied, die twee-stemmige lied en dialogue, die lied vir meer as twee stemme en die lied as bykomstige teatermusiek. Die styleienskappe van hierdie liedere, die invloed van die Franse en Italiaanse vokale komposisies en die sterk invloed wat Charles II se voorkeure op die hofkomponiste se musiek gehad het, word uitgewys. Die funksie van die lied in die destydse samelewing kom ook onder die loep. Die redaksionele werkswyse wat gevolg is met die transkribering van die liedere is gebaseer op moderne benaderings tot dié veld soos Caldwell (1985) dit voorstaan en toegepas word in die Musica Britannica (1953, 1993, 1996). 'n Bespreking oor die uitvoeringspraktyk van die lied wil 'n bydrae lewer tot die begrip van die term 'Song' soos dit in die Restourasie-tydperk verstaan is. Die tekstuele kommentaar lig aspekte soos notasie in die liedere uit en gee toeligting oor manuskripte en publikasies wat die ondersoek ten grondslag lê. Ten slotte word al 109liedere, asook liedmusiek, en -publikasies in 'n sistematiese indeks saamgevat. Volume 2: In dié volume verskyn die 109 sekulêre liedere chronologies in moderne geredigeerde vorm. Die liedere word sover moontlik weergegee soos dit in die oorspronklike manuskripte en publikasies voorkom: die ouer Engelse spelling word behou maar argaïese lettervorme is gemoderniseer. Sleuteltekens, tydmaattekens, toonsoorttekens en skuiftekens is in ooreenstemming met huidige praktyke. Die besyferde bas IS weergegee soos dit in die bronne voorkom, en is nie aangevul of gerealiseer nie.

In Nomine is the Latin title given to English compositions of the sixteenth and seventeenth centuries having the Sarum antiphon Gloria tibi Trinitas as their cantus firmus. Many composers, from Taverner to Purcell, composed at least one work based on this cantus firmus. The transition from a primarily vocal style to one for instrumental performance is evident. This study deals with a selected part of the In Nomine complex using methods developed in the scholarship of the L'homme Arme pieces. The purpose of this project is to compile, in one place, an in-depth study of the history of this genre, a description and listing of the sources, and an analysis of selected In Nomines. It is hoped that this will contribute to the understanding of a genre that played an important role in the development of the techniques employed in instrumental ensemble music. (Abstract shortened by UMI.)

Abstract There have been so few outstanding composers in England since the turn of the century, it is hardly surprising that America knows little of that country’s musical fashions; for it is the minor composers who most clearly indicate the trend of the age. Roughly speaking there have been two major schools, and the conflict between the two has influenced everybody. The outstanding figures whose personalities may be said to have given each school its particular character were Elgar and Parry. Elgar represents the professional point of view, which emphasizes the importance of technical efficiency and welcomes any foreign influences that can be profitably assimilated. Parry and his followers, with the Royal College of Music as their center, have stressed the amateur idea and they have encouraged folk-art, its collecting and teaching. They are inclined to suspect technical brilliance of being superficial and insincere. This difference may not be unconnected with the fact that Elgar was compelled to earn his living by music, whereas Parry was not. Parry’s national ideal was, in fact, the English Gentleman (who generally thinks it rather vulgar to take too much trouble). From Parry and his associates there arose a school of composers directly influenced by folksong, to which belonged virtually every composer known here until recently, except of course, Elgar and Frank Bridge. This may seem surprising to many Americans who have come to regard Elgar as synonymous with England. But he is, in fact, a most eclectic composer, his most obvious influences being Wagner, Tchaikovsky, and Franck.

Anderson notes that the interview took place at an important point in Wolff’s life: the premiere of his piece Burdocks (1971)—the climax of his association with the English composer Cornelius Cardew—and his first year teaching music at Dartmouth College. Childs and Wolff discuss Wolff’s approach to notation, Edges, and performance situations. Wolff describes his Practical Introduction to Music course and plans for another course with Jon Appleton. He talks of working with Cage and Cunningham, Burdocks and Cardew’s The Great Learning. He talks of living in England, prose notation; the Scratch Orchestra and the London premiere of Burdocks. They discuss commissions, strategies for changing the concert tradition, the influence of Wolff’s classics education on his music, ethics in performance; finally Cardew’s Maoist attacks on Cage and Stockhausen, leading to a change in Wolff’s own political thinking.

Roberto Gerhard’s early works reflect an advanced synthesis of Catalan elements and modern music, utilizing obvious markers of Catalan national identity; however, in 1939, because of the Spanish Civil War, Gerhard to fled from Spain to England. British nationalistic sentiments during and immediately after the Second World War drastically delayed due recognition of the composer in favour of British-born composers. While still living in Spain, Gerhard had composed for the BBC and the intended audience of his Albada, Interludi i Dansa was English—not Spanish or Catalan. At the time, interest in Spanish music was due largely to the events related to the Spanish Civil War. In exile in England, Gerhard’s compositional framework shifted from Catalan nationalism to moments of excursions of Spanish exoticism, composing an opera set in Seville, making arrangements of zarzuelas, while also making allusions to flamenco music. In exile, English institutions perceived Gerhard as a Spanish composer, which imposed an end to Gerhard’s overtly Catalan period.

Abstract WITH the publication of his Opp. II and III concertos Geminiani’s fame in England reached its summit. His abilities as a violinist, composer, and teacher were beyond dispute. Contemporary criticism, with just a few exceptions, is generally very positive—not only on account of the qualities of the music itself but also because Geminiani is credited with guiding English musical taste in the right direction by encouraging the study and performance of Corelli’s music and making a decisive contribution to the foundation of a native English school of violinists and composers.

In the early Elizabethan reign, composers of the Chapel Royal and Westminster Abbey created Latin polyphonic settings of Psalm 14, Domine quis habitabit in tabernaculo tuo. The settings are one of the few examples of Elizabethan composers coming together to give voice to one unified message: “Who shall dwell in thy tabernacle?” For courtiers, the tabernacle was more than a biblical reference in Tudor England, it was a sacred space with a structure that guided their life: the different chambers and their increasingly restricted access were a stark reminder of the physical and the social limitations of the Elizabethan court. This study brings a detailed analysis of William Byrd’s setting and studies the composer’s contribution to a repertory which communicated both advice and a warning to its audiences: only the right behavior would be rewarded with entry to the Elizabethan tabernacle, the private chambers of the court, and ultimately to the monarch.

Abstract In April of last year, I left England on a vacation trip across the Atlantic, a vacation rather from the general European atmosphere than from overwork. I spent two months in Canada, and since last August have been chiefly in and around New York with occasional visits to the Middle West. I have found this country enormously stimulating, and, as I have met many of the chief figures in American music today, I have had perhaps as good an opportunity as most foreigners of comparing conditions in this country with those in their own. There has been recently a lot of correspondence about American music and the treatment of American composers. It has been the chief topic of conversation in many musical circles to which I have been introduced, and it has been the subject of many articles and essays. Let me say straightaway that, in my opinion, the American composer has little to grumble at; compared with English composers, nothing. Whatever struggle American music may have had in the past for its fair.share of public recognition, today the composer here, compared with his English brother even in normal times, has a very rosy prospect.

Abstract In 1860, the London music publisher, J. J. Ewer issued a catalogue of the music available in his firm’s large circulating library.1 Included under the heading ‘Music for the Concertina’-and Ewer meant the Wheatstone English concertina-were no fewer than 447 items by thirteen composers and arrangers. And though the overwhelming majority of the titles were for concertina and piano, there were also works for unaccompanied concertina, concertina and flute, concertina and harp, two concertinas (with and without piano), and even three concertinas.2 The repertoire, moreover, was extremely diverse, extending from large-scale concertos, sonatas, and ‘Fantasias on ... ‘,

The Mesozoic Hartford Basin, a fault-bounded half-graben in New England, is composed of four sedimentologic units displaying lacustrine, playa, and alluvial conditions separated by three tholeiitic basalt flows. Limited outcrop, however, has restricted analyses across the basin. The Jurassic East Berlin Formation, in particular, crops out only in the southern and northern extents of the basin, exposing the upper 100-118-m of deposits. As a result, a new core analysis across a 600-m-transect of East Berlin rocks has been completed in the central region of the basin, exposing the entire 195-m thickness of the formation for the first time. Cores expose eight 3-m-thick lacustrine mudrock units, the upper six of which are correlative to lake deposits identified in the southern and northern extents of the basin. Additionally, thin chicken-wire evaporites demarcate the lowermost, previously unexposed, lacustrine unit, 7-m beneath a 15-cm-thick tufa horizon. Thin playa deposits and thick sheetflood and Vertisol packages separate these lake sequences over 5-30-m of vertical distance.To supplement these sedimentologic data, and better understand lake geochemistry of the basin during East Berlin time, new biomarker analyses have been applied to each of the eight lacustrine mudrock units for the first time. Biomarker data are useful for determining the lake-basin type, a paleolake classification system derived by Bohacs, Carroll, and others to describe predictable physical and geochemical evolution within rift basins from fluvial facies to over-filled, balance-filled, and under-filled lacustrine facies; subsequently, balance-filled lacustrine facies grade to a terminal fluvial facies during changes in accommodation space through time. While fluvial facies envelope lake deposits within the Hartford Basin, identifying the lake types within the East Berlin has been problematic because of limited exposures. These new sedimentologic and biomarker analyses, however, suggest balance-filled lacustrine conditions at the base of the East Berlin that grade into under-filled conditions upsection. These new biomarker data finally provide definitive evidence for changing lake types during East Berlin time.

Introduction: Phantom Limb Pain (PLP) is a common symptom after an amputation, affecting more than 80% of the people who experience this procedure. The mirror therapy, based on a reflective illusion is a hopeful possible treatment for this condition, as it tricks the brain to believe that the amputated member is still there, allowing for pain management. Objectives: The objective of this literature review is to search through clinical trials in order to collect data to relate the efficacy of Mirror Therapy in the treatment of the pain condition on PLP, establishing the possible reduction of the pain and the duration of the improvements caused by the procedure. Methods: This review was made using the descriptors “Phantom Limb pain”, “Mirror Therapy” and “Phantom Limb Syndrome” on the PubMed and New England Journal of Medicine advanced search mechanisms. The selected randomized Controlled trials totaled in 10, composed of articles from the last 16 years that fit the research’s purpose. Results: 9 out of the 10 trials used on this research showed improvement in the subjective pain of the patients on short term with the use of Mirror Therapy in both arms or legs. Some studies had even 100% of the patients with reductions on pain intensity, among a total pain reduction in the Visual Analogue Scale between 30% to 87% of improvement in all the trials. However, was not possible to determine the maintenance of this effect on a long term. Conclusion: As the first experiments of mirror therapy demonstrate, the treatment seems to have good efficacy in the reduction of the pain on the PLP condition, but there is still a need for more research to determine the extent of the improvements on a longer schedule and it was not possible to create a consensus over the total efficacy of the procedure due to the different types of amputation and the low number of patients in each trial.