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Автор: Grafiati
Опубліковано: 26 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "And cello"

1

Gorodecki, Michael, Jonathan Harvey, Frances-Marie Uitti, John Casken, Heinrich Schiff, Andrzej Panufnik, Mstislav Rostropovich, et al. "Cello Concerto; Works for Cello." Musical Times 134, no. 1805 (July 1993): 408. http://dx.doi.org/10.2307/1003108.

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2

Anderson, Robert. "Cello." Musical Times 128, no. 1733 (July 1987): 391. http://dx.doi.org/10.2307/964540.

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3

Anderson, Robert. "Cello." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965018.

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4

Anderson, Robert. "Cello." Musical Times 126, no. 1714 (December 1985): 736. http://dx.doi.org/10.2307/965208.

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ANDERSON, ROBERT. "Cello." Musical Times 127, no. 1715 (January 1986): 36. http://dx.doi.org/10.2307/965360.

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Anderson, Robert. "Cello." Musical Times 128, no. 1732 (June 1987): 337. http://dx.doi.org/10.2307/1193748.

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7

Shenoy, Prashant J., and Harrick M. Vin. "Cello." ACM SIGMETRICS Performance Evaluation Review 26, no. 1 (June 1998): 44–55. http://dx.doi.org/10.1145/277858.277871.

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8

Anderson, Robert. "British Cello." Musical Times 129, no. 1740 (February 1988): 90. http://dx.doi.org/10.2307/964438.

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9

Anderson, Robert. "Modern Cello." Musical Times 127, no. 1718 (April 1986): 215. http://dx.doi.org/10.2307/964725.

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10

Anderson, Robert. "Modern Cello." Musical Times 128, no. 1731 (May 1987): 277. http://dx.doi.org/10.2307/965127.

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Дисертації з теми "And cello"

1

Gagnon, Marie-Elaine. "Graduate cello recital." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3434.

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2

Ludwig, Aaron B. "Lonely Cello: A Performer's Analysis of Leon Kirchner's "For Cello Solo"." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/533.

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The purpose of this essay is to examine Leon Kirchner’s "For Cello Solo" for the preparation of a performance. The score, manuscripts, and recordings were analyzed to better inform the author’s interpretation of the work. Backgrounds for both the piece and the composer are included to illuminate the origins of the work. Additional information was accumulated through interviews with Carter Brey and Maria Kitsopoulos, performers of the work who collaborated with the composer. This essay aims to aid a performer’s preparation and interpretation of the composition by describing the piece’s historical and biographical context, analyzing its compositional design, and addressing specific sound and musicality issues related to the work.
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3

Fallowfield, Ellen. "Cello map : a handbook of Cello technique for performers and composers." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/960/.

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Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. The ‘map’ of the title is meant in the scientific sense of the word; connections are made between: ‘actions that a cellist makes’ and ‘sounds that a cello can produce’. In some cases, where existing scientific theory is insufficient to back up these connections, original empirical research has been undertaken and areas for further research have been suggested. Within this system there are no special effects, rather a continuum of actions with a clear relationship to sound.
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4

Fan, Chia-Lin. "The solo cello music of Benjamin Britten : an analysis : First cello suite, op. 72, Second cello suite, op. 80, Third cello suite, op. 87, and Tema Sacher." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1378140.

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The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition.
School of Music
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5

Kaufman, Gabrielle. "Gaspar Cassado : a study of Catalan cello arrangements and cello performance style." Thesis, Birmingham City University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.631677.

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This thesis explores the legacy of Catalan cellist and composer Gaspar Cassadó (1897–1966). It provides a summary of his life and legacy, an analysis of his performance style and transcription style, and explores the implications of the findings for the related fields of Catalan and Spanish twentieth-century music, musical transcription and twentieth-century cello performance. The text is complemented with a CD containing recordings of cello works by Cassadó performed by the author of this thesis, as well as the first attempt to list definitively Cassadó’s compositions, transcriptions and recordings, which are found in Appendices I–IV. Cassadó’s performance style is analysed mainly through recording comparisons between him and a number of cellists connected with his cultural and historical background. The comparisons conclude that Cassadó, although displaying certain similarities with other cellists in the comparison, cannot truly be said to have belonged to a tradition or generation based solely on performance characteristics; instead more general aspects of approach, philosophy and influence exerted on other performers need to be taken into account. The discussion of his transcriptions includes a study of music transcription history and the related area of language translation, to provide a context for a number of case studies, analysing genres and styles within Cassadó’s output. The study concludes that a definite attempt is perceptible on Cassadó’s part to widen the concept of cello transcription as creative practice, as well as to approach the great historical exponents in the field, such as Franz Liszt. It also emphasises the unusual breadth in styles and types of his output. An additional commentary relates the author’s own performance experience of Cassadó’s works, especially with regard to performing several unpublished works and first-hand study with one of Cassadó’s disciples. Some conclusions from this commentary include a number of interpretative details of possible use for the future performer of Cassadó’s works, with the intention not to be prescriptive but rather to open up new and stimulating possibilities for the performances of this repertoire, keeping in mind Cassadó’s own practice of using performances as a workshop to improve musical scores.
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6

Lee, Sunhaeng. "The Legacy of Bach’s Cello Suites in Twentieth-Century Solo Cello Suites." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584001275758751.

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7

YANG, HEEYOUNG. "GAME FOR FOUR CELLO." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1151383279.

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8

Gagnon, Marie-Elaine. "The Influence of the French Cello School in North America." Scholarly Repository, 2006. http://scholarlyrepository.miami.edu/oa_dissertations/47.

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The purpose of this study is to explore how the French School of Cello technique evolved over two and a half centuries and how it has influenced cello playing and pedagogy in the United States and in Canada, and whether it is still possible to distinguish it from other schools of bow and left hand technique. The study includes a historical background and overview of the origins of the French cello school: its importance and influence on today's major schools of cello playing, a comparison of the world's five major cello schools, and a proposal of the existence of a Global school of cello playing that has evolved in North America. A cello family tree in Chapter 4 traces the multiple cello school influences on the author. Interviews of five established cello teachers in North America are discussed in Chapter 5. Appendices include the unabridged interviews of the five cellists and a table of content of Bazelaire's Méthode.
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9

Lojewski, Mee Na Manon. "Galant and grotesque aesthetics in the musical language of Haydn's cello concerti: cello concerto in C major (c1765), cello concerto in D major (c1783)." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11947.

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My performance research is motivated by my practical study of Haydn’s Cello Concerti. My interpretative understanding of this music, which begins in instrumental study and listening, is enriched by an exploration of its historical context. Writings on eighteenth-century music, aesthetic theory and musical criticism bring me new levels of understanding of the music of this period. As a performer I have realised that the traditional view of the ‘classical style’ of Haydn’s Cello Concerti is a limiting one. This view, which seems to prevail among modern cellists, suggests that there is a ‘correct’ approach to playing them. The aesthetic theories of Haydn’s time reveal that unexpected contrasts and a sense of spontaneity are much closer to the heart of his music than a striving for purity, which flattens out its expressive contrasts. An understanding of the galant and grotesque styles of Haydn’s time provides an alternative, more informative and imaginative basis for interpreting his music. Structuring my thesis into five chapters I explore the main concepts that I see as relevant to my interpretation of Haydn’s Cello Concerti. These concepts are not arranged according to a chronology or hierarchy of aesthetic relevance, but rather seek to present a web of intersecting ideas that contribute to my interpretation. I introduce classical as a term that needs to be reconsidered in relation to this music. To understand what classical meant during Haydn’s time, in chapter two I look at how instrumental music used ancient classical rhetoric to develop an expression equivalent to language. Chapter three examines the galant style that modernised musical rhetoric in mid-eighteenth century Germany and Austria. Haydn’s Cello Concerti are explored in the context of the period’s salon culture and Haydn’s residency in the Austrian court. Chapter four explores the burlesque, virtuosity, Sturm und Drang and fantasy6 as branches of the grotesque aesthetic. Chapter five discusses the sublime in the context of creative genius and how this affected Haydn’s critical reception. In the context of eighteenth-century dualistic ideas, I explore the interaction of galant and grotesque aesthetics as seemingly opposite yet ultimately inseparable concepts. My performance research is motivated by my practical study of Haydn’s Cello Concerti. My interpretative understanding of this music, which begins in instrumental study and listening, is enriched by an exploration of its historical context. Writings on eighteenth-century music, aesthetic theory and musical criticism bring me new levels of understanding of the music of this period. As a performer I have realised that the traditional view of the ‘classical style’ of Haydn’s Cello Concerti is a limiting one. This view, which seems to prevail among modern cellists, suggests that there is a ‘correct’ approach to playing them. The aesthetic theories of Haydn’s time reveal that unexpected contrasts and a sense of spontaneity are much closer to the heart of his music than a striving for purity, which flattens out its expressive contrasts. An understanding of the galant and grotesque styles of Haydn’s time provides an alternative, more informative and imaginative basis for interpreting his music. Structuring my thesis into five chapters I explore the main concepts that I see as relevant to my interpretation of Haydn’s Cello Concerti. These concepts are not arranged according to a chronology or hierarchy of aesthetic relevance, but rather seek to present a web of intersecting ideas that contribute to my interpretation. I introduce classical as a term that needs to be reconsidered in relation to this music. To understand what classical meant during Haydn’s time, in chapter two I look at how instrumental music used ancient classical rhetoric to develop an expression equivalent to language. Chapter three examines the galant style that modernised musical rhetoric in mid-eighteenth century Germany and Austria. Haydn’s Cello Concerti are explored in the context of the period’s salon culture and Haydn’s residency in the Austrian court. Chapter four explores the burlesque, virtuosity, Sturm und Drang and fantasy6 as branches of the grotesque aesthetic. Chapter five discusses the sublime in the context of creative genius and how this affected Haydn’s critical reception. In the context of eighteenth-century dualistic ideas, I explore the interaction of galant and grotesque aesthetics as seemingly opposite yet ultimately inseparable concepts.
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10

Clark, James. "Peter sculthorpe| Music for unaccompanied cello." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590072.

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As a contemporary Australian composer, concerned with finding an "Australian sound," Peter Sculthorpe incorporated elements of Aboriginal music, Asian music, and other unique compositional devices in his music. This paper investigates Sculthorpe's compositional style through analysis of Requiem: for Cello Alone, Threnody, Into the Dreaming, For Justine, and Sonata for Cello Alone, in order to explore his incorporation of Australian characteristics within the context of idiomatic writing for the solo cello.

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Книги з теми "And cello"

1

Pleeth, William. Cello. London: Kahn &Averill, 1992.

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2

Althans, Florian. Cello. [Bremen]: Brotlos Verlag, 2018.

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3

Bach, Johann Sebastian. Cello suites. New York, NY: Sony Classical, 2009.

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4

Wykes, Robert. For cello. Berkeley, CA: Fallen Leaf Press, 1989.

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5

Music, Royal Conservatory of, ed. Cello syllabus. Oakville, Ont: F. Harris Music, 1995.

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6

Rachmaninoff, Sergei. Cello sonatas. England: Chandos, 1988.

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7

Herre-Jan, Stegenga, and Entremont Philippe, eds. Cello sonatas. Leeuwarden, The Netherlands]: Brilliant Classics, 2008.

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8

Suzuki, Shin'ichi. Suzuki Cello School Cello: Cello Part. Birch Tree Group Ltd, 1999.

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9

Suzuki Cello School, Cello: Cello Part (Suzuki Cello School). Alfred Publishing Company, 1999.

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10

Suzuki Cello School, Cello: Cello Part (Suzuki Cello School). Alfred Publishing Company, 1999.

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Частини книг з теми "And cello"

1

Bynum, Eric, and Thomas D. Rossing. "Cello." In The Science of String Instruments, 245–57. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-7110-4_14.

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2

Peters, Nils, Martin Dichgans, Sankar Surendran, Josep M. Argilés, Francisco J. López-Soriano, Sílvia Busquets, Klaus Dittmann, et al. "CELLO." In Encyclopedia of Molecular Mechanisms of Disease, 300. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-540-29676-8_7278.

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3

Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Cello." In The Teaching of Instrumental Music, 421–30. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-30.

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4

MacLeod, Rebecca B. "Cello Fingerings." In Teaching Strings in Today’s Classroom, 114–24. New York ; London : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351254144-12.

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5

Ihas, Dijana, Miranda Wilson, and Gaelen McCormick. "Lonely Stars—Cello." In Teaching Violin, Viola, Cello, and Double Bass, 281–88. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003154938-44.

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6

Ingold, Tim. "Thinking through the cello." In Imagining for Real, 243–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003171713-21.

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7

Kamitakahara, Hiroshi, Fumiaki Nakatsubo, and Dieter Klemm. "Synthesis of methylated cello-oligosaccharides." In Polysaccharide Materials: Performance by Design, 199–211. Washington DC: American Chemical Society, 2009. http://dx.doi.org/10.1021/bk-2009-1017.ch011.

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8

Hopkin, Bart. "Steel Cello and Bow Chimes." In Sound Inventions, 33–37. London: Focal Press, 2021. http://dx.doi.org/10.4324/9781003003526-5.

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Ingold, Tim. "The cello and the lasso." In Imagining for Real, 114–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003171713-11.

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10

Chudy, Magdalena, and Simon Dixon. "Recognising Cello Performers Using Timbre Models." In Algorithms from and for Nature and Life, 511–18. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-00035-0_52.

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Тези доповідей конференцій з теми "And cello"

1

Shenoy, Prashant J., and Harrick M. Vin. "Cello." In the 1998 ACM SIGMETRICS joint international conference. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/277851.277871.

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2

Occello, Michel, and Yves Demazeau. "CELLO." In the first international conference. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/267658.267781.

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3

Hollinger, Avrum D., and Marcelo M. Wanderley. "MRI-compatible optically-sensed cello." In 2013 IEEE Sensors. IEEE, 2013. http://dx.doi.org/10.1109/icsens.2013.6688614.

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4

ZHANG, A., and J. WOODHOUSE. "MOTION OF THE CELLO BRIDGE." In IOA 40th Anniversary Conference 2014. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16250.

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5

Yuan, Jing. "On Body Language During Cello Performance." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.122.

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6

Duff. "Backpropagation and Bach's 5th cello suite (Sarabande)." In International Joint Conference on Neural Networks. IEEE, 1989. http://dx.doi.org/10.1109/ijcnn.1989.118317.

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7

Vega-Brown, William, Abraham Bachrach, Adam Bry, Jonathan Kelly, and Nicholas Roy. "CELLO: A fast algorithm for Covariance Estimation." In 2013 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2013. http://dx.doi.org/10.1109/icra.2013.6631017.

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8

"Historical Importance of Two Cello Concertos by Joseph Haydn on the Development of Concerto Composing Tradition for Solo Cello." In May 2022 International Conferences. Dignified Researchers Publication, 2022. http://dx.doi.org/10.17758/dirpub11.dir0522424.

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9

Vega-Brown, William, and Nicholas Roy. "CELLO-EM: Adaptive sensor models without ground truth." In 2013 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS 2013). IEEE, 2013. http://dx.doi.org/10.1109/iros.2013.6696609.

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10

Stöter, Fabian-Robert, Michael Müller, and Bernd Edler. "Multi-Sensor Cello Recordings for Instantaneous Frequency Estimation." In MM '15: ACM Multimedia Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2733373.2806384.

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Звіти організацій з теми "And cello"

1

Williams, Thomas, Caroline Erolin, and Muireann McMahon. Cell Survival: Deluxe Edition. University of Dundee, May 2023. http://dx.doi.org/10.20933/100001283.

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Анотація:
Cells are the smallest units of life. The environment around cells is always changing and cells need to adapt to survive. Can you keep your cell alive in this special edition of Cell Survival? Great for 1 or more people age 3+, lasts around 15 mins per game.
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2

Singh, Anjali. Ultimate Guide to Automated Cell Counter: Plus Purchasing Tips. ConductScience, June 2022. http://dx.doi.org/10.55157/cs20220614.

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An automated cell counter is a machine that uses either image analysis or electrical impedance principles to count cells automatically. The electrical impedance principle involves measuring changes in electrical resistance as cells pass through an aperture, while the light-scattering principle observes how cells scatter light when exposed to it. There are four main types of automated cell counting methods: Coulter Counter, Image Analysis Method, Flow Cytometry, and Stereological Cell Counting. Each method has its benefits and limitations, offering faster and more objective cell counting compared to manual methods, but also facing challenges like cost and potential counting inaccuracies. To use an automated cell counter, samples are prepared by pipetting cell suspension onto counting slide chambers, and the machine then provides a total cell count per ml.
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Williams, Thomas. Cell Biology Board Game: Cell Survival (School Version). University of Dundee, 2022. http://dx.doi.org/10.20933/100001270.

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Cells are the smallest units of life. The environment around cells is always changing. Cells need to adapt to survive. This curriculum linked game and lesson plan introduces the world of cells to pupils 8-13. But can they keep their cells alive? This is a guide to how the cell survival resources can be used in a lesson and can be adapted as the teacher sees fit to do so. This lesson is aimed at 8-13 year olds, and fits into an hour long session. The Cell Survival Game has been adapted for both home use and for use in the classroom, and is accompanied by a series of videos. Learning Outcomes – Cells are the smallest unit of life – There are many different types of cells, and some examples of cell types – Cells experience many dangers, and some examples of dangers – How cells notice and defend themselves against dangers Links to the Curriculum – Health and Wellbeing: I am developing my understanding of the human body – Languages: I can find specific information in a straight forward text (book and instructions) to learn new things, I discover new words and phrases (relating to cells) – Mathematics: I am developing a sense of size and amount (by using the dice), I am exploring number processes (addition and subtraction) and understand they represent quantities (steps to finish line), I am learning about measurements (cell sizes) and am exploring patterns (of cell defences against dangers) – Science: I am learning about biodiversity (different types of microbes), body systems, cells and how they work. – Technology: I am learning about new technologies (used to understand how cells work).
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Williams, Thomas, Caroline Erolin, and Muireann McMahon. Cell Survival Deluxe: School Version. University of Dundee, July 2023. http://dx.doi.org/10.20933/100001284.

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Анотація:
Cells are the smallest units of life. The environment around cells is always changing. Cells need to adapt to survive. This curriculum linked game and lesson plan introduces the world of cells to pupils 8-13. But can they keep their cells alive? This is a guide to how the cell survival resources can be used in a lesson and can be adapted as the teacher sees fit to do so. This lesson is aimed at 8-13 year olds, and fits into an hour long session. This Cell Survival Game has been adapted for use in the classroom and contains new and improved artwork. Accompanying videos and activity sheets complete the learning experience. Learning Outcomes – Cells are the smallest unit of life – There are many different types of cells, and some examples of cell types – Cells experience many dangers, and some examples of dangers – How cells notice and defend themselves against dangers Links to the Curriculum – Health and Wellbeing: I am developing my understanding of the human body – Languages: I can find specific information in a straight forward text (book and instructions) to learn new things, I discover new words and phrases (relating to cells) – Mathematics: I am developing a sense of size and amount (by using the dice), I am exploring number processes (addition and subtraction) and understand they represent quantities (steps to finish line), I am learning about measurements (cell sizes) and am exploring patterns (of cell defences against dangers) – Science: I am learning about biodiversity (different types of microbes), body systems, cells and how they work. – Technology: I am learning about new technologies (used to understand how cells work). Accompanying videos and activity sheets (available at https://dx.doi.org/10.20933/100001270) complete the learning experience.
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Williams, Thomas. Cell Biology Board Game: Cell Survival (Home Version). University of Dundee, 2022. http://dx.doi.org/10.20933/100001271.

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Moran, Nava, Richard Crain, and Wolf-Dieter Reiter. Regulation by Light of Plant Potassium Uptake through K Channels: Biochemical, Physiological and Biophysical Study. United States Department of Agriculture, September 1995. http://dx.doi.org/10.32747/1995.7571356.bard.

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The swelling of plant motor cells is regulated by various signals with almost unknown mediators. One of the obligatory steps in the signaling cascade is the activation of K+-influx channels -K+ channels activated by hyperpolarization (KH channels). We thus explored the regulation of these channels in our model system, motor cell protoplasts from Samanea saman, using patch-clamp in the "whole cell" configuration. (a) The most novel finding was that the activity of KH channels in situ varied with the time of the day, in positive correlation with cell swelling: in Extensor cells KH channels were active in the earlier part of the day, while in Flexor cells only during the later part of the day; (b) High internal pH promoted the activity of these channels in Extensor cells, opposite to the behavior of the equivalent channels in guard cells, but in conformity with the predicted behavior of the putative KH channel, cloned from S. saman recently; (c) HIgh external K+ concentration increased (KH channel currents in Flexor cells. BL depolarized the Flexor cells, as detected in cell-attached patch-clamp recording, using KD channels (the K+-efflux channels) as "voltage-sensing devices". Subsequent Red-Light (RL) pulse followed by Darkness, hyperpolarized the cell. We attribute these changes to the inhibition of the H+-pump by BL and its reactivation by RL, as they were abolished by an H+-pump inhibitor. BL increased also the activity KD channels, in a voltage-independent manner - in all probability by an independent signaling pathway. Blue-Light (BL), which stimulates shrinking of Flexor cells, evoked the IP3 signaling cascade (detected directly by IP3 binding assay), known to mobilize cytosolic Ca2+. Nevertheless, cytosolic Ca2+ . did not activate the KD channel in excised, inside-out patches. In this study we established a close functional similarity of the KD channels between Flexor and Extensior cells. Thus the differences in their responses must stem from different links to signaling in both cell types.
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Petitte, James, Hefzibah Eyal-Giladi, and Malka Ginsburg. The Study of Primordial Germ Cell Development as a Tool for Gene Transfer in Chickens. United States Department of Agriculture, October 1991. http://dx.doi.org/10.32747/1991.7561071.bard.

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The ability to introduce novel genetic material into the genome of commercial poultry has been impeded by a lack of kowledge regarding the origin in the early embryo of the target cell of interest, namely, the germ cell. Hence, this project investigated the emergence of primordial germ cells (PGCs) during the early development of the avian embryo to aid in efforts to produce transgenic poultry on a routine basis. The strategy was to introduce foreign DNA into the area of the unincubated embryo that is destined to give rise to the germ line. The objectives of this project were: 1) to identify and localize a subpopulation of cells in the early embryo which will give rise to PGCs, 2) to determine the best location and stage of development to transfer donor cells for efficient germline chimerism, and 3) to transfect donor cells to produce transgenic/germline chimeric embryos. We show that by using the monoclonal antibody SSEA-1 and by various cell culture techniques that germ cells appear to segregate from the somatic lineages at St. X., a process that is gradual and continues through St. XIV. Using microsurgical transplantation between quail and chick embryos, we demonstrated that the inner 1/3 of the area pellucida between states X-XII gives rise to about 2/3 of the germ cell population at the time of their residence in the germinal crescent. Because of the non-localized emergence of PGCs, attempts to introduce foreign DNA into clonal precursors of germ cells through liposome-mediated transfection yielded unacceptable levels of efficiency. However, through our investigation of germ cell origins, an in vitro model of germ cell differentiation was developed that could offer a means of determining the factors required for the long term culture of avian PGCs thereby providing a convenient means of manipulating the avian genome.
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Paul, Satashree. Flavivirus and its Threat. Science Repository, March 2021. http://dx.doi.org/10.31487/sr.blog.30.

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A number of studies found that the virus can activate the endothelial cells and affect the structure and function of the blood?brain barrier, promoting immune cell migration to benefit the virus nervous system target cells infected by flaviviruses.
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Delmer, Deborah, Nicholas Carpita, and Abraham Marcus. Induced Plant Cell Wall Modifications: Use of Plant Cells with Altered Walls to Study Wall Structure, Growth and Potential for Genetic Modification. United States Department of Agriculture, May 1995. http://dx.doi.org/10.32747/1995.7613021.bard.

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Our previous work indicated that suspension-cultured plant cells show remarkable flexibility in altering cell wall structure in response either to growth on saline medium or in the presence of the cellulose synthesis inhibitor 2,-6-dichlorobenzonitrile (DCB). We have continued to analyze the structure of these modified cell walls to understand how the changes modify wall strength, porosity, and ability to expand. The major load-bearing network in the walls of DCB-adapted dicot cells that lack a substantial cellulose-xyloglucan network is comprised of Ca2+-bridged pectates; these cells also have an unusual and abundant soluble pectic fraction. By contrast, DCB-adapted barley, a graminaceous monocot achieves extra wall strength by enhanced cross-linking of its non-cellulosic polysaccharide network via phenolic residues. Our results have also shed new light on normal wall stucture: 1) the cellulose-xyloglucan network may be independent of other wall networks in dicot primary walls and accounts for about 70% of the total wall strength; 2) the pectic network in dicot walls is the primary determinant of wall porosity; 3) both wall strength and porosity in graminaceous monocot primary walls is greatly influenced by the degree of phenolic cross-linking between non-cellulosic polysaccharides; and 4) the fact that the monocot cells do not secrete excess glucuronoarabinoxylan and mixed-linked glucan in response to growth on DCB, suggests that these two non-cellulosic polymers do not normally interact with cellulose in a manner similar to xyloglucan. We also attempted to understand the factors which limit cell expansion during growth of cells in saline medium. Analyses of hydrolytic enzyme activities suggest that xyloglucan metabolism is not repressed during growth on NaCl. Unlike non-adapted cells, salt-adapted cells were found to lack pectin methyl esterase, but it is not clear how this difference could relate to alterations in wall expansibility. Salt-adaped cell walls contain reduced hyp and secrete two unique PRPP-related proteins suggesting that high NaCl inhibits the cross-linking of these proteins into the walls, a finding that might relate to their altered expansibility.
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CORSCADDENorscadden, Louise, and Arpaporn Sutipatanasomboon. The Definite Guide to Flow Cytometry for Scientists. ConductScience, December 2022. http://dx.doi.org/10.55157/cs20221213.

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Flow cytometry is an analytical technique that examines cells suspended in fluids. It uses a built-in laser beam to illuminate individual cells as the fluid passes through. The illumination causes fluorescence and scattered lights, which are emitted and reflected from the examining cell. These lights are split and filtered onto detectors and converted into electrical signals.
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