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This article represents a revised chapter of my book György Ligeti's Creation in the Stylistic Context of the 20st Century, published in 1999. It shows the divergent and contrasting aspects of the composer's pieces, their synaesthesis and their preference for allusions and illusions. Ligeti's whole work is a large spectrum built with associable musical structures that are also found with other composers or even in extramusical artistic productions. But despite this, it remains original and innovative, not belonging to any stylistic orientation of 20th century music. [ABSTRACT FROM AUTHOR]

Objective: Patients with Alzheimer disease dementia (ADD) often show impaired orientation and navigation. Signage offers an opportunity to compensate for these deficits, communicate information efficiently and facilitate wayfinding. Certain properties of signs such as colors and contrasts may beneficially affect the uptake and processing of information particularly in ADD patients.Methods: Thirty-six healthy older adults and 30 ADD patients performed a computerized color perception task that required discriminating different color combinations. The effects of different contrast features on performance accuracy and speed in the 2 experimental groups were examined by nonparametric mixed analysis of variances.Results: Analyses revealed a significant effect of contrast polarity on reaction times, significant effects of group on reaction times and errors as well as a marginally significant interaction of group×color on errors. All participants benefitted from positive contrast polarity (ie, dark target on lighter background) as indicated by increased performance speed. Furthermore, ADD patients reacted slower and less accurate than healthy controls, but showed higher accuracy at black-white and red-yellow than at blue-green color combinations.Conclusions: Our findings suggest the implementation of signs with positive contrast polarity to ensure faster reactions. In addition, certain color combinations may enhance accuracy, particularly in patients with ADD. [ABSTRACT FROM AUTHOR]

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Multimodal learning materials are frequently met in education assuming enhanced learning outcomes. This study examined whether contrasts in such materials are likely to support reading comprehension for all readers. Young adults (n=46) met either text-only or text+picture material. Participants (19 with low phonological awareness [PA] and 27 controls with high PA) thereafter answered open interview questions to check for reading comprehension. Learning materials were designed to focus readers on aspects critical to understanding the content by the use of contrasts; eyetracking was used as method. Well-known pictures aided information recall, but contrasts described in the text were most effective for learning. [ABSTRACT FROM AUTHOR]

Most analyses of Bartók's Contrasts focus on abstract compositional ideas such as musical language, form, and motivic unity. Manuscript sources, however, show that practical considerations played an equally important role in the compositional process. Bartók adventurously exploited the potentials of the instruments (clarinet, violin and piano) as well as that of the musicians (Benny Goodman and Joseph Szigeti) for whom he composed the piece, but, within certain boundaries, he was also ready to make concessions to them. Since Bartók was commissioned to write Contrasts, the composition had to fill a number of essentially practical requirements. When he began composing, he had to regard as given some of the basic characteristics of the work such as the instrumentation, the need to include virtuoso cadenzas for both soloists, number, tempi, and approximate duration of movements, as well as some stylistic features. Even so, the composer did not adhere strictly to all of the requirements. The compositional process of Contrasts, therefore, can be interpreted as a simultaneous realization of both practical and abstract ideas. [ABSTRACT FROM AUTHOR]

Any set of confidence interval inferences on J - 1 linearly independent contrasts on J means, such as the two comparisons μ1 - &mu2 and μ2 - μ3 on 3 means, provides a basis for the deduction of interval inferences on all other contrasts, such as the redundant comparison μ1 - μ3. Deduced inference does not inflate the experimentwise error rate beyond the level associated with the set of direct statistical inferences from which it is deduced. This article shows that although deduced inference is not as precise as direct inference, it can be a useful alternative to the kind of post hoc analysis that often follows analyses of sets of linearly independent contrasts. The article also illustrates applications of deduced inference following analyses of factorial experiments, where the problems often associated with popular analysis strategies can be avoided if inferences on simple effect contrasts are deduced from confidence intervals on main and interaction effect contrasts. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Slovo (05836255) is the property of Slovo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)