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Starting with the idea that sustainability as a concept can (and should) be applied in the field of incidental music, thus, ensuring the continuation of its life after the curtain falls, we argue that discography is one of the main ways in which incidental music (like any other type of music) can be preserved and later studied. We argue that discography (as a sustainability tool) equals the survival (survivability) of incidental music and test this hypothesis on four case studies - compact discs and releases of incidental music of four composers: Vojislav Voki Kostić, Zoran Erić, Zoran Simjanović and Isidora Žebeljan.

The study of gramophone records is important when acquainting oneself with Mijat Mijatović (1887-1937), who strongly impacted so-called folk music in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia, considering the importance of the records he released during his career. His opus of commercial recordings is the largest of the interwar period in the area and, therefore, it is highly indicative when considering the correlation between the early music industry and ‘local’ culture as a glocal topic. In this study we present numerous sources and a complex critical analysis that resulted in Mijatović’s discography. Special attention has been paid to record companies, the chronology of recordings, the repertoire and collaborating musicians, thus mapping the potential of discography for the study of recorded music and cultural history.

A significant part of the Radio Belgrade programme, especially in the years before the establishment of instrumental and choral ensembles within this institution, was comprised of music recordings. Although gramophone record concerts were presented within the programme announcements, they were not considered in more detail in existing studies of music on Radio Belgrade. One of the reasons for this could be limited access to the data on the gramophone record concerts. Thus, for the first analysis of this segment of the music programme, the author has focused on the first year in which weekly radio programme announcements were printed in Radio Beograd: nedeljni ilustrovani časopis. The announcements contained data about music numbers, recordings companies, and serial numbers of the records played. More precisely, the series of His Master’s Voice concerts, named after the label of records exclusively broadcast in the programme, were examined in the period from October 1930 to October 1931. This particular series was chosen because of the importance of the label in both the global and local mu­sic industry and the continual broadcasted of His Master’s Voice records on Radio Belgrade. Furthermore, the diversity of programme conceptions of concerts within the series indicates the particular ways in which gramophone record concerts were designed. Based on the series of His Master’s Voice concerts, three methods of categorising gramophone record concerts are suggested. In addition, the paper offers little known archival data on gramophone record distributors who borrowed records to Radio Belgrade for marketing purposes.

ObjectiveOblique lateral interbody fusion (OLIF) has unique advantages in the treatment of discogenic low back pain (DBP). However, there are few studies in this area, and no established standard for additional posterior internal fixation. The purpose of this study was to investigate the efficacy of OLIF stand-alone vs. combined with percutaneous pedicle screw fixation (PPSF) in the treatment of DBP.MethodsThis retrospective case-control study included forty patients. All patients were diagnosed with DBP by discography and discoblock. Perioperative parameters (surgery duration, blood loss, and muscle damage), complications, Visual analog scale (VAS), and Oswestry Disability Index (ODI) were assessed. Imaging data including cage subsidence, cage retropulsion, fusion rate, and adjacent spondylosis degeneration (ASD) were analyzed.ResultsThere were 23 patients in the OLIF stand-alone group and 17 patients in the OLIF + PPSF group. The mean surgery duration, blood loss, and muscle damage in the OLIF stand-alone group were significantly better than those in the OLIF + PPSF group (P 0.05). There was no significant difference in the VAS and ODI scores between the two groups before surgery (P > 0.05), and VAS and ODI scores significantly improved after surgery (P 0.05). At the last follow-up, there was no significant difference in cage subsidence, fusion rate, ASD and complication rate between the two groups (P > 0.05).ConclusionOLIF stand-alone and OLIF + PPSF are both safe and effective in the treatment of DBP, and there is no significant difference in the long-term clinical and radiological outcomes. OLIF stand-alone has the advantages of surgery duration, blood loss, muscle damage, and early clinical effect. More clinical data are needed to confirm the effect of OLIF stand-alone on cage subsidence and ASD. This study provides a basis for the clinical application of standard DBP treatment with OLIF.

Lumbar discography has been controversial for many years. Some of the controversy has been based on concerns about the needle causing harm to the injected, nonoperated discs. However, other studies suggest discography does not damage discs. Long-term follow-up of injected discs may be helpful to determine if discography was related to development of clinically relevant disc degeneration, evidenced by subsequent surgery. The purpose of this study was to compare rates of disc-related surgery during long-term follow-up in discs that underwent discography vs those that did not. This was a retrospective cohort study. Study data were collected from 200 patients who had undergone lumbar total disc replacement with minimum 10-year follow-up data available. The primary outcome measure was the occurrence of a surgery to treat discogenic pain at a level not included in the index TDR surgery. Patients were identified from a large-scale retrospective study evaluating lumbar TDR outcomes. Data collected included patient descriptives, discography information, and details of reoperations. For patients who had not been seen recently in the clinic, mailings and telephone calls were conducted attempting to collect current follow-up data, including reoperation. Only patients for whom minimum 10-year follow-up data were available were included to better assess the potential development of disc degeneration postdiscography. The mean follow-up was 156.1 months (range 120 to 254 months). Data were analyzed by individual disc level. A level was included if it was: L3-4, L4-5, L5-S1, or L2-3 that underwent discography or was adjacent to an operated disc. Discs were excluded if they underwent TDR as the index surgery or had previously undergone TDR or interbody fusion. The study included 251 discs that received discographic injection and 124 discs that did not. Rates of surgery for disc degeneration or herniation after the index surgery for these two groups were compared. The rate of surgery for disc-related pain was not greater among discs that underwent discography vs those that were not injected (10.8% vs 8.1% p>0.40). Forward conditional binary logistic regression analysis found that the factor most strongly related to subsequent disc-related surgery was the individual lumbar level. Once in the equation the only other variable significantly related to reoperation was the result of the discogram (not simply having a discogram itself). Age, body mass index, sex, or having a discographic injection were not significantly related to subsequent disc-related surgery. Based on the results of the regression analysis, relationships between subsequent surgery and level and discography results were investigated further. Reoperation for disc-related pain was most common at L5-1 (19.6%) and L4-5 (13.6%), regardless of discography performed or not. Rates of surgery for disc-related pathology were similar for discs not receiving discography (8.1%) and those that were normal on discography (6.3%). These were both significantly less than the rate of 18.4% among discs that were not normal on discography (painful upon injection and/or discordant pain, and/or abnormal in appearance on imaging). The results of this study found there was no significant difference in the rates of disc-related surgery among discs that underwent discography vs those that did not, at a minimum follow-up of 10 years. The rate was greater only among discs that were abnormal on discography. These findings support that discographic injection does not injure normal discs. This abstract does not discuss or include any applicable devices or drugs. [ABSTRACT FROM AUTHOR]

Purpose: It is suggested that non-specific low back pain (LBP) can be related to nerve ingrowth along granulation tissue in disc fissures, extending into the outer layers of the annulus fibrosus. Present study aimed to investigate if machine-learning modelling of magnetic resonance imaging (MRI) data can classify such fissures as well as pain, provoked by discography, with plausible accuracy and precision. Methods: The study was based on previously collected data from 30 LBP patients (age = 26–64 years, 11 males). Pressure-controlled discography was performed in 86 discs with pain-positive discograms, categorized as concordant pain-response at a pressure ≤ 50 psi and for each patient one negative control disc. The CT-discograms were used for categorization of fissures. MRI values and standard deviations were extracted from the midsagittal part and from 5 different sub-regions of the discs. Machine-learning algorithms were trained on the extracted MRI markers to classify discs with fissures extending into the outer annulus or not, as well as to classify discs as painful or non-painful. Results: Discs with outer annular fissures were classified in MRI with very high precision (mean of 10 repeated testings: 99%) and accuracy (mean: 97%) using machine-learning modelling, but the pain model only demonstrated moderate diagnostic accuracy (mean accuracy: 69%; precision: 71%). Conclusion: The present study showed that machine-learning modelling based on MRI can classify outer annular fissures with very high diagnostic accuracy and, hence, enable individualized diagnostics. However, the model only demonstrated moderate diagnostic accuracy regarding pain that could be assigned to either a non-sufficient model or the used pain reference. [ABSTRACT FROM AUTHOR]

This article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production – as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices. [ABSTRACT FROM AUTHOR]

During the 1950s, Radio Belgrade commenced its own production of gramophone records, which is the topic of this paper. These 78rpm records were issued under the label Jugodisk, understood as forerunner of the later established PGP RTB/RTS. However, in the absence of catalogues, the information on those records is scarce. It seems that records were not issued regularly and that only some of them were intended for the market. The paper is aimed at gathering the presently known data, including new research results based on the archived documents, newspaper articles, and a comparison of several collections of Jugodisk records and data on available records. The body of music presented is then discussed in the context of the Yugoslav music and media culture of the time. [ABSTRACT FROM AUTHOR]

The Brazilian writer Carolina Maria de Jesus (1914-1977) denounced, in her most widespread work, Quarto de despejo: diário de uma favelada [Child of the Dark] (1960), some of the Brazilian social ills, such as hunger, racism, classism, and sexism. Such denunciations are also present in her namesake album, the object of this study, released in the following year: Quarto de despejo: Carolina Maria de Jesus cantando suas composições [Quarto de despejo: Carolina Maria de Jesus singing her compositions] (1961). Thus, observing the intersectionality perspectives (AKOTIRENE, 2020) present in the course of the author's work, as well as the social-historical context and the "lugar de fala" (standpoint of speech) (RIBEIRO, 2020) that involves the ninth song of the album, "As granfinas", the aim is to verify how the intersections between race, gender, and class, of the portrayed female characters in this song, manifest. This analysis considers that, despite sharing gender issues, the female representations that emerge are opposites: on one side the "granfina", a white woman confined to the mythological construction of the gender rolls ideas, and on the other, the maid, stigmatized to maternal and domestic rolls added to racism, due to the sum of the colonial invention of gender and race. [ABSTRACT FROM AUTHOR]

The performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research. [ABSTRACT FROM AUTHOR]

Copyright of Revista Musical Chilena is the property of Universidad de Chile 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.)

The present work proposes to analyze the aesthetic impact of loudness war on Angra's discography, verifying how it affected the band's albums (in terms of equalization, compression and limitation), the reflection of such factors on the aesthetic experience of hearing, and the possibility that Angra has incorporated characteristics resulting from it to its aesthetic proposal in the albums released in the post-streaming period. Along with listening to the material and analyzing the waveforms, the methodology, inspired by Deruty and Tardieu (2014), consists of measuring and analyzing true peak, RMS, peak to RMS, and loudness of Angra's nine studio albums. In conclusion, some evidence of the alignment of Angra's discography with the loudness war is presented, with due reservations, addressing psychoacoustic, timbristic and stylistic issues; and evidence is presented that Angra incorporated in the post-streaming aesthetic characteristics resulting from it, specifying which were such features. [ABSTRACT FROM AUTHOR]

The literature that problematizes Brazilian Popular Music of the 1970s tends to cut it through an experimentalist bias that had three pillars: individualism, crack songs and critical songs. The author problematizes the artistic trajectory of the composer Belchior within this frame, aiming precisely to understand how the songbook brought experimentalism in his work. The main sources gather the songs and album covers of Belchior's discography from the 1970s to the 1990s. At the end, the text takes stock of the analytical possibilities that Belchior could offer, taking into account the interpretative gaps that exist in the popular music of the 1970s decade. [ABSTRACT FROM AUTHOR]

Study Design: Retrospective analysis of prospectively collected data.Objective: To investigate whether intervertebral disc (IVD) image features, extracted from magnetic resonance (MR) images, can depict the extension and width of annular fissures and associate them to pain.Summary Of Background Data: Annular fissures are suggested to be associated with low back pain (LBP). Magnetic resonance imaging (MRI) is a sensitive method, yet fissures are sometimes unobservable in T2-weighted MR-images, even though fissure information is present in the image. Image features can mathematically be calculated from MR-images and might reveal fissure characteristics.Methods: Forty four LBP patients who underwent MRI, low-pressure discography (<50 psi), and computed tomography (CT) sequentially in 1 day, were reviewed. After semi-automated segmentation of 126 discs, image features were extracted from the T2-weighted images. The number of image features was reduced with principle component analysis (PCA). CT-discograms were graded and dichotomized regarding extension and width of fissures. IVDs were divided into fissures extending to outer annulus versus short/no fissures. Fissure width was dichotomized into narrow (<10%) versus broad fissures (>10%), and into moderately broad (10%-50%) versus very broad fissures (>50%). Logistic regression was performed to investigate if image features could depict fissure extension to outer annulus and fissure width. As a sub-analysis, the association between image features used to depict fissure characteristics and discography-provoked pain-response were investigated.Results: Fissure extension could be depicted with sensitivity/specificity = 0.97/0.77 and area under curve (AUC) = 0.97. Corresponding results for width depiction were sensitivity/specificity = 0.94/0.39 and 0.85/0.62, and AUC = 0.86 and 0.81 for narrow versus broad and moderately broad versus very broad fissures respectively. Pain prediction with image features used for depicting fissure characteristics showed sensitivity/specificity = 0.90/0.36, 0.88/0.4, 0.93/0.33; AUC = 0.69, 0.75, and 0.73 respectively.Conclusion: Standard MR-images contains fissure information associated to pain that can be depicted with image features, enabling non-invasive phenotyping of potentially painful annular fissures.Level of Evidence: 2. [ABSTRACT FROM AUTHOR]

The reception of George Crumb's Makrokosmos I and II benefited from the efforts of pianists David Burge and Robert Miller. Burge, the composer's colleague at Colorado College, gave the premiere of the first volume and made its first recording. The second volume was premiered by Robert Miller, a New York-based pianist associated with the Group for Contemporary Music, who created the initial recording of the second volume. The discographies of these two pianists testify to their tremendous and shared commitment to the music of their own time. Yet two artists drawn to the same repertoire, born in the same year, could not have been more different. There were significant differences in how they saw their goals, priorities, and responsibilities as interpreters dedicated to the evolving repertoire, which determined their immediate impact and the consequences of their work. Their choices, which reflect needs for access, self-preservation, education, standards, and audience engagement, are examined in light of contemporary debates regarding access and the bridging and bonding of diverse communities. [ABSTRACT FROM AUTHOR]

Purpose - The aim of this paper is to outline the basic procedures for cataloguing standard gramophone records, focusing on publication date determination. Determining the publication date is a key (and obligatory) step which plays a major role in the correct identification and cataloguing of the sound documents included in the collections of Czech memory institutions. However, the determination of the date of publication of certain types of sound documents, such as historical gramophone records, is a challenging task. This paper presents a case study of various date determination methods and their application in cataloguing practice, using as an example the personal discothèque of R. A. Dvorský, an early 20th century popular music performer and composer, which forms part of the National Museum - Czech Museum of Music phonotheque. Design/Methodology/Approach - The collection of standard gramophone records from R. A. Dvorský's discothèque was catalogued in compliance with the RDA core elements requirements and in the MARC 21 format, based on the publication dates found on the labels of standard gramophone records and using various types of specialised sources (historical catalogues, discographies, electronic databases, reference books etc.). The paper presents examples of ways in which various resource types can be used and publication dates recorded in the catalogue system. Results - The intended outcomes are the following: 1) The application of specialized sources in the determination of standard gramophone records publication dates. 2) A case study of the cataloguing of standard gramophone records from the collections of the National Museum - Czech Museum of Music in compliance with the RDA standards in the MARC 21 format. Originality/Value - The main contribution of this paper is that it demonstrates the process of describing and cataloguing standard gramophone records included in the collections of the National Museum - Czech Museum of Music in compliance with the RDA standards in the MARC 21 format. Another benefit is the overview of ways in which various types of auxiliary sources, which are key for determining the publication dates of standard gramophone records, can be applied. These types of sources can be used by memory institutions' cataloguers and documenters for cataloguing and keeping records of standard gramophone records collections. Retrospective dating of recordings enables incomplete descriptions of sound carriers to be completed, for example within the VISK 5 (retrospective cataloguing) programmes. [ABSTRACT FROM AUTHOR]

Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology 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 Revista de la Biblioteca Nacional Jose Marti is the property of Biblioteca Nacional de Cuba Jose Marti 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.)

This discography was created by David Wisdom based on conversations with Rodney Graham. Mosaic is pleased to publish it here. [ABSTRACT FROM AUTHOR]

Background: Provocative discography (PD) is a test that is useful in diagnosing discogenic pain (DP). In this study, to diagnose DP, we used a posterolateral approach of needle placement and followed pressure criteria laid down by the Spine Intervention Society. The aim was to identify the correlation between magnetic resonance imaging (MRI) findings (desiccation, high intensity zone and change in shape and size of the disc) and the results of PD. Methods: Records of 50 patients who underwent PD for DP were analyzed. A total of 109 PDs were performed, with 54 suspect and 55 control discs. Alternate pain generators were ruled out. Results: A total of 35 suspect discs were positive on PD. The mean disc pressure in the suspect disc was 31.9 ± 7.9 psi (range, 15-44). Of the 50 patients who underwent PD, 35 had positive MRI findings. A significant positive correlation was found only between disc desiccation and discography result (r = 0.6, P < 0.001). Logistic regression analysis revealed that only desiccation successfully predicted the result of discography (OR = 26.5, P < 0.001); a high intensity zone and a disc protrusion/extrusion had an OR 2.3 and 1.24, respectively. Disc desiccation of Pfirmann grade 3 or more had a sensitivity and specificity of 0.93 and 0.64 respectively in identifying painful discs; the positive likelihood ratio was 2.58 while the negative likelihood ratio was 0.11. Conclusions: In patients with DP, disc desiccation is the most useful MRI feature that predicts a painful disc on PD. [ABSTRACT FROM AUTHOR]

"Current Bibliography" is an annotated index to research on recording history that has appeared recently in specialized journals. To be indexed here an article must be in English, be reasonably substantive, and deal with recording history--as opposed to musicology, sociology, or contemporary subjects such as collecting or record reviews. "W/D" or "discog." means that the article was accompanied by something at least remotely resembling a discography. Issues covered this time were received between February and August 2021. If you contact one of these publications or authors, please mention ARSC and "Current Bibliography.". [ABSTRACT FROM AUTHOR]