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In poultry and zoo birds, mass outbreaks of amyloid A (AA) amyloidosis are often reported, and horizontal transmission is considered as one of the causes. However, oral transmission of avian AA amyloidosis in nature has been unclear. In order to clarify the horizontal transmission of avian AA amyloidosis, basic research using an appropriate oral transmission model is necessary. In this study, we developed an oral transmission model of AA amyloidosis using quails, and assessed the oral transmission efficiency of AA amyloidosis in quails and mice. Young quails, adult quails, and young mice received inflammatory stimulation with lipopolysaccharide; simultaneously, homogeneous amyloid fibrils were orally or intravenously administered. By histological examination, induction of amyloidosis by oral or intravenous administration of amyloid was confirmed in all species. Furthermore, both quail and murine AA amyloidosis were orally transmitted in a dose-dependent manner. These results support the possibility of horizontal transmission of avian AA amyloidosis in nature. This model will be able to contribute to the elucidation of spontaneous horizontal transmission of avian AA amyloidosis in the future. RESEARCH HIGHLIGHTS Quail AA amyloidosis was orally transmitted in a dose-dependent manner. Oral transmission was less efficient than intravenous transmission. In-cage horizontal transmission did not occur during 4-week cohabitation. Amyloid deposition in tissues of quail was grossly visible. [ABSTRACT FROM AUTHOR]

This article re-examines some arguments about the practice of adding orally transmitted arpeggio-like figures, which I term chordal accretions, to the lute melodies oftōgaku(literally ‘Tang music’), a repertory of secular music imported to Japan from China between the seventh and the ninth centuries AD, and performed to this day. Previous scholarship shows divergent ideas regarding the use of arpeggios in the lute melodies: while some researchers believe that, like the modern practice, orally transmitted arpeggios were inserted into the historical melodies, others argue that the modern practice has no precedence in antiquity. Citing examples from historical and musical sources on Tang-dynasty (618–907) secular music and Japanesetōgaku, I demonstrate that arpeggios do in fact have a strong precedence in the antiquity of lute performance in China, and that the Japanese, to a large extent, preserved the Chinese practice during the early transmission oftōgaku. However, these historical arpeggios were different from those used in modern performance in terms of structure, technique and transmission. It was probably the decline of thetōgakutradition in the fifteenth century and the misunderstanding of some information in historical sources during the standardisation of the repertory in the early Meiji period (1868–1912) that resulted in a reinvention of the functions and structures of such chordal accretions in the lute music oftōgaku. [ABSTRACT FROM AUTHOR]

Opera as a form of cultural expression has been prospering in South Africa in diverse cultural environments for many years. In a number of instances “learning the notes” has taken place through oral transmission rather than based on a knowledge of Western staff notation. This article argues that staff notation and its canonisation in Western music is undermined in a non-Western context where opera unshackles itself from the strictures of “the score” through oral rather than written transmission. Examples hereof are diverse and various, and can be found in formal and informal practices of opera. I explore the example of opera production by the socalled coloured opera company, the Eoan Group that performed opera on a semi-professional level during the apartheid era and of whom it was known that many of its principal singers did not know staff notation. A description of how singers were taught their parts is followed by a comparison of a recording of “Questa o quella” from Verdi'sRigolettoby Eoan singer Joseph Gabriels (who learnt all his parts by rote) and an American singer Neil Shicoff who studied at Juilliard in New York. The article investigates whether one can hear in the actual performance that Gabriels could not read staff notation and if so, what this means. [ABSTRACT FROM PUBLISHER]

The Sephardim published Judeo-Spanish ballads, tales and proverbs in Ladino in the numerous periodicals they produced in Serbia, Bosnia and Macedonia. Occasionally, the work of Sephardic authors or collectors would also be published in Serbian regional and local newspapers. In this paper I examine the case of a text in Serbian entitled Ženske Šale (Women's Jokes) which, in 1885, was published in the Serbian newspaper, Videlo (Light), in which this story was alleged to be a Judeo-Spanish folktale collected by a Sephardic Jew named Haim Davičo. This article demonstrates the tale's similarity to Tirso de Molina's short story, Los tres maridos burlados (1624), a connection which has previously gone unnoticed. Through a comparison of the Serbian text with Tirso's original story, while highlighting the former's Sephardic cultural traits, this paper shows that Ženske Šale (Women's Jokes) is actually quite an accurate Serbian rendering of Tirso's story probably translated directly from the original by Haim Davičo. [ABSTRACT FROM AUTHOR]

Transmission of music is never carried out solely through writing; rather it occurs through both oral and written traditions. Tōgaku, a repertory of entertainment music imported to Japan from China between the seventh and the ninth centuries AD, was initially transmitted with a great reliance on the written tradition. However, during the course of its historical development, there was a gradual increase in the reliance on oral transmission. This paper studies changes in the oral and written traditions of tōgaku in Japan by investigating the notations and mnemonic devices used to resemble the melodies during the learning process. [ABSTRACT FROM AUTHOR]