Bibliografias temáticas / Transcriptions de Liszt

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Literatura científica selecionada sobre o tema "Transcriptions de Liszt"

Autor: Grafiati
Publicado: 15 de fevereiro de 2025

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Artigos de revistas sobre o assunto "Transcriptions de Liszt"

1

Davis, Richard. "Liszt Transcriptions." Musical Times 126, no. 1714 (1985): 712. http://dx.doi.org/10.2307/965188.

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Oláh, Boglárka Eszter. "Transcription, Paraphrase, Creed in Franz Liszt’s Variations on „Weinen, Klagen, Sorgen, Zagen”." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 341–52. http://dx.doi.org/10.24193/subbmusica.2023.2.25.

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"Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The histo
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Walker, Alan. "Liszt and the Schubert Song Transcriptions." Musical Quarterly 75, no. 4 (1991): 248–62. http://dx.doi.org/10.1093/mq/75.4.248.

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Hamburger, Klára. "Unbekannte Liszt-Dokumente aus deutschen Bibliotheken." Studia Musicologica 53, no. 4 (2012): 383–457. http://dx.doi.org/10.1556/smus.53.2012.4.1.

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The first part of the present documentary publishes fifty-one autograph letters and five short notes of Ferenc Liszt from the collection of the Berlin State Library, written in French and German between 1836 and 1886. Some of those written to music publisher Hermann Härtel concern the edition of compositions such as Consolations and Études ďexécution transcendante, while others touch on his transcriptions. Other letters are addressed to various musicians, friends, lady-friends, etc., among them Richard Wagner and C. F. Weitzmann. In the second part there follow sixteen documents from the Libra
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Hamilton, Kenneth. "Franz Liszt, Free Arrangements and Transcriptions for Piano Solo, New Liszt Edition Series II vol. XV, edited by Istvan Kassai and Imre Sulyok (Budapest: Editio Musica Budapest, 2003). 172pp. £24.95." Nineteenth-Century Music Review 2, no. 2 (2005): 231–33. http://dx.doi.org/10.1017/s1479409800002469.

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Стейт, Н. Г. "Semantics of b-moll Tonality in Works by F. Liszt (On the Example of Transcriptions of F. Schubert’s Song “Her Portrait” and Hungarian Rhapsody No. 3)." OPERA MUSICOLOGICA 16/1, no. 2024. 16/1 (2024): 54–75. http://dx.doi.org/10.26156/operamus.2024.16.1.003.

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В статье рассматривается семантика тональности b-moll в произведениях авторов разных эпох — барокко (И. С. Бах), начала XIX в. (Л. Бетховен), романтизма (Ф. Шуберт и Ф. Лист). Комплексный семантический анализ позволил выявить ряд отличительных особенностей, объединяющих трактовку данной тональности в творчестве указанных композиторов, например, использование ими схожих музыкально-риторических фигур (katabasis, epizeuxis). Прослеживаемая преемственность символической трактовки b-moll, а также и других тональностей (например, E-dur), дает возможность приблизиться к интерпретации смысла основопол
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Lynnyk, M. S. "Rostislav Genika: performer, teacher, composer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.

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Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art,
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Nina, Rudenko. "Raising public awareness in N. O. Yeshchenko’s performance activity." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (2022): 124–40. http://dx.doi.org/10.34064/khnum1-62.08.

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The article is dedicated to an outstanding personality, Merited Artist of Ukraine, professor of Kharkiv I. P. Kotlyarevsky National University of Arts. Nataliia Olexandrivna Yeshchenko (1926–2015) is the pianist, teacher, artist, scientist, who devoted her entire life to music. In her work she preserved traditions of the Kharkiv piano school, the founders of which were P. Lutsenko, O. Horovyts, M. Khazanovskyi. Her rich and fruitful activity left a noticeable mark in the history of piano performance in Ukraine. The work of the famous performer attracted the attention of reviewers and researche
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Górska-Kołodziejska, Agata. "The role of transcription in a didactic process on the examples of chamber works scored for piano for four hands and for two pianos." Konteksty Kształcenia Muzycznego 7, no. 1(11) (2020): 11–42. http://dx.doi.org/10.5604/01.3001.0014.6462.

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The aim of the article is to demonstrate the need for employing transcriptions of well-known musical works in the teaching of piano performance for four hands and for two pianos. The origins of the concept of transcription is presented, development of transcription in the context of the history of musical forms is traced back, as well as performance-related aspects of a transcription are analysed. The article shows advantages of a transcription as an arrangement developing the pianist’s technique and art of interpretation. The publication also includes a list of the transcribed pieces availabl
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Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.

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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and c
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Teses / dissertações sobre o assunto "Transcriptions de Liszt"

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Madsen, Charles Arthur. "The Schubert-Liszt transcriptions : text, interpretation, and Lieder transformation /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080592.

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Thesis (Ph. D.)--University of Oregon, 2003.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 477-487). Also available for download via the World Wide Web; free to University of Oregon users.
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Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale su
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Hamilton, Kenneth. "The opera fantasias and transcriptions of Franz Liszt : a critical study." Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:021d129f-3b6d-4a55-893c-ba92ea853653.

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The traditional division between "original" and "arrangement" is impossible to sustain for most of Liszt's oeuvre. By virtue of the amount of original creative thinking displayed in his finest operatic fantasies and transcriptions they deserve as detailed a study as any other group of works. Our knowledge is deficient even with regard to identification and dating; the Fantasia on Le Nozze di Figaro and Don Juan is unknown in its original form, while the Fantasia on Il Giuramento has remained unidentified. All of Liszt's works share the same improvisatory approach to composition. Both original
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Carenco, Céline. "L'influence des transcriptions d'œuvres d'Hector Berlioz sur l'écriture orchestrale de Franz Liszt." Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2199.

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L’objet de cette thèse est l’étude de la musique de Franz Liszt de 1830 à 1850 environ. Il s’agit de comprendre comment le musicien, qui garde Paris comme principal port d’attache de décembre 1823 à avril 1844, élabore peu à peu, lors de ses années d’apprentissage au cœur de la révolution romantique, une écriture orchestrale qu’il mettra en pratique à partir de 1848 à Weimar. En effet, pendant cette période parisienne, Liszt transcrit pour le piano de nombreuses partitions d’orchestre : il est probable qu’en plus de l’encourager à révolutionner l’écriture pianistique, et ainsi à inventer le pi
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Knoll, Moises S., and Moises S. Knoll. "A study of selected Liszt transcriptions of Schubert Lieder: aesthetic and technical aspects." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/624863.

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Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian. Franz Schubert was hardly a public figure d
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Lin, Chia-Yin. "The Liszt transcriptions for piano of songs by Beethoven, Chopin, and Mendelssohn : inspiration, process and intention /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11403.

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Cloutier, David 1948. "A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert Lieder." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331767/.

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This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for
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Pierce, Stephen R. "An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1322052457.

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Kim, Ah Young. "A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984280/.

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Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by
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Sheldon, Vanessa Renee. "Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.

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The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the au
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Livros sobre o assunto "Transcriptions de Liszt"

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Jervis, Simon. British and Irish inventories: A list and bibliography of published transcriptions of secular inventories. Furniture History Society, 2010.

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2

Liszt, Franz. The Schubert Song Transcriptions for Solo Piano / Series III: The Complete Schwanengesang (Schubert's Complete Song Texts). Dover Publications, 1999.

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3

Smith, Rollin. Great Organ Transcriptions: 26 Works by Liszt, Saint-Saens, Bach and Others. Dover Publications, 2005.

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4

Neue Liszt-Ausgabe.: New Liszt edition. Index of the series I, Works for piano solo, volumes 1-18 and the series II, Free arrangements and transcriptions for piano solo, volumes 1-24. Editio Musica, 1990.

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5

Liszt, Franz, and Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.

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Valse de L'opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics, 2018.

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Liszt, Franz, and Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.

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Liszt, Franz, and Charles Gounod. Valse de l'Opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics Trade Press, 2018.

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Liszt, Franz, and Charles Gounod. Valse de L'opéra Faust. Transcription for Piano by Franz Liszt. Franklin Classics, 2018.

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10

Linn, Jo W. Stokes County, North Carolina, 1815 Tax List: Annotated Transcriptions. Jo White Linn, 1997.

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Capítulos de livros sobre o assunto "Transcriptions de Liszt"

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Bhalla, Parinishtha, Anukriti Verma, Bhawna Rathi, Shivani Sharda, and Pallavi Somvanshi. "Exploring Molecular Signatures in Spondyloarthritis: A Step Towards Early Diagnosis." In Proceedings of the Conference BioSangam 2022: Emerging Trends in Biotechnology (BIOSANGAM 2022). Atlantis Press International BV, 2022. http://dx.doi.org/10.2991/978-94-6463-020-6_15.

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AbstractSpondyloarthritis is an acute inflammatory disorder of the musculoskeletal system often accompanied by pain, stiffness, bone and tissue damage. It majorly consists of ankylosing spondylitis, psoriatic arthritis and reactive arthritis. It follows a differential diagnosis pattern for demarcation between the spondyloarthritis subtypes and other arthritic subtypes such as rheumatoid arthritis, juvenile arthritis and osteoarthritis due to the heterogeneity causing gradual chronicity and complications. Presence of definite molecular markers can not only improve diagnosis efficiency but also aid in their prognosis and therapy. This study is an attempt to compose a refined list of such unique and common molecular signatures of the considered subtypes, by employing a reductionist approach amalgamating gene retrieval, protein-protein interaction network, functional, pathway, micro-RNA-gene and transcription factor-gene regulatory network analysis. Gene retrieval and protein-protein interaction network analysis resulted in unique and common interacting genes of arthritis subtypes. Functional annotation and pathway analysis found vital functions and pathways unique and common in arthritis subtypes. Furthermore, miRNA-gene and transcription factor-gene interaction networks retrieved unique and common miRNA’s and transcription factors in arthritis subtypes. Furthermore, the study identified important signatures of arthritis subtypes that can serve as markers assisting in prognosis, early diagnosis and personalized treatment of arthritis patients requiring validation via prospective experimental studies.
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Gatt, Kurstin. "Perceptions of Malta in Arabic Proverbs and Idioms." In Semitic Languages and Cultures. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0445.11.

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This contribution explores perceptions of Malta, its people, and its language through the lens of Arabic proverbs and idioms, offering a cultural and linguistic analysis within the field of paremiology. By examining a curated list of proverbs and their thematic implications, the study reveals how Malta is portrayed across various Arabic-speaking communities. The research identifies six key themes: Malta as a distant or unreachable place, a non-existent location, a symbol of religious devotion, a representation of importunate behaviour, a linguistic enigma, and a symbol of resilience during hardship. These portrayals stem from historical, cultural, and geographic factors, reflecting a mix of admiration, humour, and skepticism. The study employs transcription and translation to document proverbs, supported by contextual analysis and anecdotal evidence. For instance, Malta is depicted as an unfamiliar location in Levantine and Syrian expressions, while Tunisian and Moroccan sayings highlight perceptions of linguistic incomprehensibility and the Maltese character. The contribution also addresses proverbs tied to historical events, such as Malta’s resistance to Ottoman invasions, which have left enduring legacies in local oral traditions. This analysis underscores the role of proverbs as cultural artifacts, revealing societal values and inter-group dynamics. It advocates for further research into the representation of Malta in other linguistic traditions and the portrayal of different cultures in Arabic proverbs. The study contributes to understanding the intersection of language, culture, and perception in popular sayings.
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Watson, Derek. "Transcriptions." In Liszt. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0010.

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Abstract No one knew better than Liszt that the piano in the nineteenth century had assumed the importance of the orchestra. This helps explain why the names of eighty composers will be found in section XI of Appendix B. Liszt’s transcriptions and arrangements form, collectively, the most remarkable aspect of his industry - an industry unique among the great transcribers in musical history.
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Watson, Derek. "Organ and chamber music." In Liszt. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0014.

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Abstract The Margittay edition of the complete organ works contains forty-seven items. Of these eleven are transcriptions from other composers - Arcadelt, Bach, Chopin, Lassus, Mozart, Nicolai, Verdi and Wagner.
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Watson, Derek. "Musical language: technique and transformation." In Liszt. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0009.

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Abstract Liszt’s absorption of musical styles in his youth and early maturity is as wide as the map of his travels. The list of composers from whom he made transcriptions is long, and includes some who shaped his own musical language. He had a thorough grounding in Bach and the Viennese classics. His teacher Czerny, the revered Beethoven and, later, Schubert were primary influences.
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"3. Liszt And The Schubert Song Transcriptions." In Reflections on Liszt. Cornell University Press, 2018. http://dx.doi.org/10.7591/9781501717031-006.

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"Appendix: Transcriptions and Translations of Contemporaneous Reviews of Liszt’s Lieder (1843–9)." In Liszt Recomposed. Boydell and Brewer, 2024. http://dx.doi.org/10.1515/9781805433408-008.

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"The Gregarious Art of Music (1927)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0024.

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Abstract Editor’s Note: In the course of this article Mr. Grainger lays emphasis on the fact that the more gregarious the musical disposition of musical workers-the less esteem of themselves as soloists and the more regard they possess for music in ensemble—the greater the interest of the community is likely to become in their art, in the long run. He devotes special attention to the possibilities when two or more pianists get together, and walks into the people who stiltedly declare themselves against transcriptions and arrangements. Incidental to that, it may be mentioned that the paraphrasing of music has been much practised in the best circles—by Bach, Brahms, Schumann, and Handel as well as by Liszt, Tchaikovsky, Strauss, Saint-Saens, Gounod, and Berlioz, and a whole host of them.
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Kregor, Jonathan. "Transcription." In Liszt in Context. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108378253.027.

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"Transcription." In The Quran: Word List (Volume 3). Gorgias Press, 2020. http://dx.doi.org/10.31826/9781463241780-002.

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Trabalhos de conferências sobre o assunto "Transcriptions de Liszt"

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Bogdanova-Beglarian, Natalia V., and Daria A. Stoyka. "ORTHOEPIC NORMS ARE NOT A DOGMA, BUT A LIVING SYSTEM." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.05.

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According to L. A. Verbitskaya, the norm is “a set of phenomena allowed by the language system, selected and fixed in the speech of native speakers and mandatory for all who speak the literary language at a certain period of time”. The norm is static, it makes the literary language understandable for everyone and at any time. Researchers, however, noticed that the norm is a constant only with a great deal of convention. The codified norm is opposed by the real “norm–usus”, which is well understood by native speakers, but hasn’t been recorded almost anywhere. A good exception are the reduced fo
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Gorobets, Valentina, Roman Billeter, Rolf Adelsberger, and Andreas Kunz. "Automatic transcription of the Methods-Time Measurement MTM-1 motions in VR." In Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004575.

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We concentrate our research on using VR technology for the automatic transcription of basic human motions in the Methods-Time Measurement (MTM) system. It is a predetermined motion time system that consists of a list of predefined basic motions and the mean time values corresponding to those motions. This system is used to analyze manual workplaces. Currently, the MTM analysis is conducted manually. The working process that needs to be analyzed is video captured and further analyzed by dividing it into a sequence of basic MTM motions. There are various MTM systems that differ by their granular
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Sato, Taisuke, and Ryosuke Kojima. "Boolean Network Learning in Vector Spaces for Genome-wide Network Analysis." In 18th International Conference on Principles of Knowledge Representation and Reasoning {KR-2021}. International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/kr.2021/53.

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Boolean networks (BNs) are one of the standard tools for modeling gene regulatory networks in biology but their learning has been limited to small networks due to computational difficulty. Aiming at unprecedented scalability, we focus on a subclass of BNs called AND/OR Boolean networks where Boolean formulas are restricted to a conjunction or a disjunction of literals. We represent an AND/OR BN with N nodes by an N x 2N binary matrix Q paired with an N dimensional integer vector theta called a threshold vector, a state of the BN by an N dimensional binary state vector s and a state transition
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Relatórios de organizações sobre o assunto "Transcriptions de Liszt"

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Gundacker, Roman. The Names of the Kings of the Fifth Dynasty According to Manetho. Verlag der Österreichischen Akademie der Wissenschaften, 2018. http://dx.doi.org/10.1553/erc_stg_757951_r._gundacker_the_names_of_the_kings_of_the_fifth_dynasty.

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The names of the kings of the Fifth Dynasty may serve as a prototypical example for the re-evaluation of Manetho’s king-list: Userkaf, Sahure, Neferirkare, Shepseskare, Reneferef, Nirewoser, Djedkare-Isesi and Unas are all recorded in the king-list of Manetho as transmitted by Sextus Julius Africanus according to the Ecloga chronographiae of George Syncellus. Although the names as preserved have obviously suffered on a long way of copying manuscripts over and over again, a closer look at the Greek transcriptions reveals the high quality and the still unbroken relevance of Manetho’s Aegyptiaca
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Maquat, Lynne. Final report: FASEB Summer Research Conference on ''Post-transcriptional control of gene expression: Effectors of mRNA decay'' [agenda and attendees list]. Office of Scientific and Technical Information (OSTI), 2002. http://dx.doi.org/10.2172/808649.

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Citovsky, Vitaly, and Yedidya Gafni. Viral and Host Cell Determinants of Nuclear Import and Export of the Tomato Yellow Leaf Curl Virus in Tomato Plants. United States Department of Agriculture, 2002. http://dx.doi.org/10.32747/2002.7585200.bard.

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Tomato yellow leaf curl geminivirus (TYLCV) is a major pathogen of cultivated tomato, causing up to 100% crop loss in many parts of the world. In Israel, where TYLCV epidemics have been recorded since the 1960' s, this viral disease is well known and has been of economic significance ever since. In recent years, TYLCV outbreaks also occurred in the "New World" - Cuba, The Dominican Republic, and in the USA, in Florida, Georgia and Louisiana. Thus, TYLCV substantially hinders tomato growth throughout the world. Surprisingly, however, little is known about the molecular mechanisms of TYLCV inter
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Elroy-Stein, Orna, and Dmitry Belostotsky. Mechanism of Internal Initiation of Translation in Plants. United States Department of Agriculture, 2010. http://dx.doi.org/10.32747/2010.7696518.bard.

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Original objectives Elucidation of PABP's role in crTMV148 IRES function in-vitro using wheat germ extract and krebs-2 cells extract. Fully achieved. Elucidation of PABP's role in crTMV148 IRES function in-vivo in Arabidopsis. Characterization of the physical interactions of PABP and other potential ITAFs with crTMV148 IRES. Partly achieved. To conduct search for additional ITAFs using different approaches and evaluate the candidates. Partly achieved. Background of the topic The power of internal translation via the activity of internal ribosomal entry site (IRES) elements allow coordinated sy
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Tucker, Mark L., Shimon Meir, Amnon Lers, Sonia Philosoph-Hadas, and Cai-Zhong Jiang. Elucidation of signaling pathways that regulate ethylene-induced leaf and flower abscission of agriculturally important plants. United States Department of Agriculture, 2012. http://dx.doi.org/10.32747/2012.7597929.bard.

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The Problem: Abscission is a highly regulated process, occurring as a natural terminal stage of development, in which various organs are separated from the parent plant. In most plant species, the process is initiated by a decrease in active auxin in the abscission zone (AZ) and an increase in ethylene, and may be accelerated by postharvest or environmental stresses. Another potential key regulator in abscission is IDA (Inflorescence Deficient in Abscission), which was identified as an essential peptide signal for floral organ abscission in Arabidopsis. However, information is still lacking re
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