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In 2023, a major European musical ensemble, the Belgrade Philharmonic Orchestra, celebrates its centennial. In the course of 100 years, this institution faced numerous obstacles, but thanks to the enthusiasm of great musicians, especially conductors, it has survived and laid the foundation for further musical and cultural development in Serbia. This article discusses the activity of the most important orchestral leaders (Stevan Hristić, Lovro von Matačić, Krešimir Baranović, Živojin Zdravković, Horst Förster, Vassily Sinaisky, Emil Tabakov, Uroš Lajovic, Dorian Wilson, Muhai Tang, Gabriel Feltz, Daniel Raiskin and Zubin Mehta), who have vastly contributed to or changed the course of the orchestra's development and left a big mark in its hundred-year-long history. In its centenary year, we will look back into the past, review the present, but also take a glimpse into the future the Belgrade Philharmonic Orchestra has already started to write for itself. [ABSTRACT FROM AUTHOR]

Introduction. The article examines films about cooperation that were part of the repertoire of cooperative film exhibitions for rural film distribution in Karelia. The relevance of the topic is determined by the visual turn in historical research and the lack of works on this topic. The purpose of the study is to study the content of rural distribution in Karelia with cooperative films that were at the disposal of the Karelian-Prioneyezhsky Union of Consumer Societies; to consider the plots and content of the films; to find out their ideological and artistic potential for conducting cooperative agitation and propaganda. Materials and Methods. The sources of the research are the documents from the National Archive of the Republic of Karelia, materials from the funds of regional cooperative unions, the Karelian Regional Committee of the RCP (b) – CPSU (b) and the People's Commissariat of Education of the AKSSR. Along with archival documents, published materials about films of the 1920s were used. The research is based on an interdisciplinary approach. When working on the material, both general methods of the humanities (analysis and synthesis) and specific historical methods (historical narrative, statistical) were used. Results and Discussion. The author of the article examined the works of cinema art created in the 1920s to indoctrinate cooperative ideas in rural society and shown in the villages of the Autonomous Karelian Soviet Socialist Republic. The article analyzes the repertoire of cooperative films for rural distribution; examines the plot and presents the content of films about cooperation in the 1920s. It also describes the work of cooperative film tours “to promote cinema in the village”, including in rural cooperatives with a diverse national composition; it reveals a positive attitude of the audience to cooperative cinema. The significance of cinema as an important means of visual representation of cooperative ideas for the incorporation of new members into cooperatives during the NEP period is determined. The study managed to find information confirming the influence of film propaganda with the help of cooperative films on the process of involving rural residents of Karelia in cooperation, which was manifested in the development of cooperative construction, expansion of cooperative work and an increase in the number of shareholders in consumer societies. Conclusion. At the end of the 1920s, feature films, documentaries and cartoons about cooperation made up almost half of the repertoire of film exhibitions of the Karelo-Prionezh Union of Consumer Societies. They demonstrated ways of organizing a village cooperative, reflected the participation of women in cooperation, and the importance of cooperative trade in the fight against private owners and shopkeepers. The author's conclusions contribute to the study of the development of cooperative cinematography in the 1920s as part of the general cultural and educational work of cooperative associations. The results of the study in general and the analysis of the cooperative repertoire of rural film tours in particular supplement the information on the history of culture and cinematography of Karelia and make possible the similar scientific research in other regions of the country. The practical significance of the study lies in establishing the continuity of the traditions of public organizations and the possibility of using historical experience in the socio-cultural activities of modern cooperative members in Russia.

Abstract Passive acoustic monitoring (PAM) is an effective remote sensing approach for sampling acoustically active animal species and is particularly useful for elusive, visually cryptic species inhabiting remote or inaccessible habitats. Key advantages of PAM are large spatial coverage and continuous, long‐term monitoring. In most cases, a signal detection algorithm is utilized to locate sounds of interest within long sequences of audio data. It is important to understand the demographic/contextual usage of call types when choosing a particular signal to use for detection. Sampling biases may result if sampling is restricted to subsets of the population, for example, when detectable vocalizations are produced only by a certain demographic class. Using the African forest elephant repertoire as a case study, we test for differences in call type usage among different age‐sex classes. We identified disproportionate usage by age‐sex class of four call types—roars, trumpets, rumbles, and combination calls. This differential usage of signals by demographic class has implications for the use of particular call types in PAM for this species. Our results highlight that forest elephant PAM studies that have used rumbles as target signals may have under‐sampled adult males. The addition of other call types to PAM frameworks may be useful to leverage additional population demographic information from these surveys. Our research exemplifies how an examination of a species' acoustic behavior can be used to better contextualize the data and results from PAM and to strengthen the resulting inference.

The creative and dynamic practices that multilinguals perform with linguistic and non-linguistic features such as the body, movement, senses, and space have been documented as integral to their repertoire. Drawing on interdisciplinary literature, this article advances the concept of the repertoire through translanguaging drama as a pedagogical practice and examines the resources that can be volitionally mobilised through language learners' perezhivanie, or the emotional, felt and lived through experience. Translanguaging drama was implemented in two English language programmes with adult learners in Canada. While these courses focused on improving English language skills, translanguaging drama was implemented to activate learners' perezhivanie while using their repertoire, which not only facilitated communication in the English language but pushed for agency in using non-linguistic resources. I examine learners' perezhivanie with a subset of data, which included observation notes and learner diary entries. In this article, I emphasize four main interrelated areas: (1) volition and empowerment, (2) meaning-making across languages, (3) embodiment of language – through voice modulation, facial expression, and body language–, and (4) language choice triggered by perezhivanie. Implications of the study for furthering the theorisation of language, language learning and the repertoire are discussed. [ABSTRACT FROM AUTHOR]

Band repertoire lists evolved from a desire to make the school band experience "more educational" when school bands themselves were relatively new. The first national band repertoire list was created for the National Band Contest in 1924, with new lists published annually through 1943. These lists gave prominence to the literature they contained, and through nationwide dissemination, the literature contained on them formed the foundation of many band libraries. This study was an analysis of the pieces and composers that were on the lists, how the lists were structured, and also the people who created them. Only 9.25 percent of the literature on the earliest lists between 1924 and 1931 had been originally composed for band, whereas 40.23 percent of literature on the lists from 1931 to 1943 had been composed for band. Only 2.58 percent of the literature on the lists was composed by women or people of color, and their works on the list were all transcriptions for band. The literature lists, designed to make band "more educational," excluded popular styles, including jazz and ragtime. These lists were created and maintained by 41 White men between 1924 and 1943, predominantly (88.1 percent) from New York and seven states in the Midwest. [ABSTRACT FROM AUTHOR]

Parsing signals from noise is a general problem for signallers and recipients, and for researchers studying communicative systems. Substantial efforts have been invested in comparing how other species encode information and meaning, and how signalling is structured. However, research depends on identifying and discriminating signals that represent meaningful units of analysis. Early approaches to defining signal repertoires applied top-down approaches, classifying cases into predefined signal types. Recently, more labour-intensive methods have taken a bottom-up approach describing detailed features of each signal and clustering cases based on patterns of similarity in multi-dimensional feature-space that were previously undetectable. Nevertheless, it remains essential to assess whether the resulting repertoires are composed of relevant units from the perspective of the species using them, and redefining repertoires when additional data become available. In this paper we provide a framework that takes data from the largest set of wild chimpanzee (Pan troglodytes) gestures currently available, splitting gesture types at a fine scale based on modifying features of gesture expression using latent class analysis (a model-based cluster detection algorithm for categorical variables), and then determining whether this splitting process reduces uncertainty about the goal or community of the gesture. Our method allows different features of interest to be incorporated into the splitting process, providing substantial future flexibility across, for example, species, populations, and levels of signal granularity. Doing so, we provide a powerful tool allowing researchers interested in gestural communication to establish repertoires of relevant units for subsequent analyses within and between systems of communication. [ABSTRACT FROM AUTHOR]

In the Moravian region of Slovácko, wind music occupies a special position, which has been influenced by a number of factors. At the time of its introduction into the rural environment, bringing with it modern contemporary elements, the discourse of authenticity was beginning to grow stronger in the field of ethnographic science. A few decades later, this construct of originality and ancientness became a factor that paradoxically contributed to the development of wind bands in this environment. This study describes the complex relationships between traditional music and its performance and repertoire development in the context of the long-standing discourse of authenticity in Czech folklore studies and the so-called folklore revival movement. [ABSTRACT FROM AUTHOR]

A shift from understanding languages as discrete towards understanding them as undifferentiated features in the repertoire has caused disagreements over the reality of linguistic boundaries. In this paper, I show how a middle‐ground approach is achievable by applying the complex workings of a scalar‐chronotopic lens to the discourse of bilingual/multidialectal Bahrainis. I argue that both perspectives on (in)discreteness become relevant in accounting for bi/multilingual subjectivities: at times, Arabic is idealized as a large‐scale code against English, whereas at other times, the intrusiveness of English is backgrounded to show affiliation for one Arabic variety over another. I show accommodation in communication as a spatiotemporally layered process, where the internalized contextual factors within the repertoire may overlap with or take precedence over the immediate context. As such, this paper adds to the question of linguistic discreteness, with implications for our understanding of the repertoire and its utility in bi/multilingual practices and accommodation theory. [ABSTRACT FROM AUTHOR]

Molecular changes in lymphocytes following SARS-CoV-2 vaccination are incompletely understood. We hypothesized that studying the molecular (transcriptomic, epigenetic, and T cell receptor (TCR) repertoire) changes in CD4+ T cells following SARS-CoV-2 vaccination could inform protective mechanisms and refinement of future vaccines. We tested this hypothesis by reporting alterations in CD4+ T cell subsets and molecular features of CD4+ naïve and CD4+ central memory (CM) subsets between the unvaccinated and vaccinated groups. Compared with the unvaccinated, the vaccinated had higher HLA-DR expression in CD4+ T subsets, a greater number of differentially expressed genes (DEGs) that overlapped with key differentially accessible regions (DARs) along the chromatin linked to inflammasome activation, translation, regulation (of apoptosis, inflammation), and significant changes in clonal architecture beyond SARS-CoV-2 specificity. Several of these differences were more pronounced in the CD4+CM subset. Taken together, our observations imply that the COVID-19 vaccine exerts its protective effects via modulation of acute inflammation to SARS-CoV-2 challenge. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Registered nurses in the operating room require specialized competencies that surpass basic educational training. Existing national and international documents attempt to outline these competencies but often lack comprehensive details. To address this, a repertoire of technical and professional competencies for operating room nurses, aligned with European and National Qualifications Frameworks, is proposed. Aim: Develop a repertoire of technical and professional competencies for perioperative and perianesthesiological specialist nursing roles. Methods: An at-home ethnography design was employed, utilizing participant observation, interviews to the double, and focus groups. Convenience sampling included 46 participants from a university and a public hospital in northern Italy. Data were collected from September 2021 to June 2023 and analyzed using inductive content analysis and data triangulation. Results: Identified 17 specialized technical professional competencies for perioperative and perianesthesiological nursing, divided into 6 areas of activity. These competencies encompass 19 learning outcomes, 152 tasks, 222 knowledge elements, and 218 skills. Conclusions: This competency repertoire aids in the public recognition of qualifications and serves as a valuable tool for identifying, validating, and certifying competencies. Future research should focus on exploring the competencies of central sterilization nurses and transversal competencies. [ABSTRACT FROM AUTHOR]

A recent study showed that just one point mutation F33 to Y in the complementarity-determining region 1 of heavy chain (H-CDR1) could lead to the auto-antibody losing its DNA binding ability. However, the potential molecular mechanisms have not been well elucidated. In this study, we investigated how the antibody lost the DNA binding ability caused by mutation F33 to Y in the H-CDR1. We found that the electrostatic force was not the primary driving force for the interaction between anti-DNA antibodies and the antigen single strand DNA (ssDNA), and that the H-CDR2 largely contributed to the binding of antigen ssDNA, even larger than H-CDR1. The H-F33Y mutation could increase the hydrogen-bond interaction but impair the pi-pi stacking interaction between the antibody and ssDNA. We further found that F33H, W98H and Y95L in the wiletype antibody could form the stable pi-pi stacking interaction with the nucleotide bases of ssDNA. However, the Y33 in mutant could not form the parallel sandwich pi-pi stacking interaction with the ssDNA. To further confirm the importance of pi-pi stacking, the wildtype antibody and the mutants (F33YH, F33AH, W98AH and Y95AL) were experimentally expressed in CHO cells and purified, and the results from ELISA clearly showed that all the mutants lost the ssDNA binding ability. Taken together, our findings may not only deepen the understanding of the underlying interaction mechanism between autoantibody and antigen, but also broad implications in the field of antibody engineer. [ABSTRACT FROM AUTHOR]

Passive acoustic monitoring (PAM) is an effective remote sensing approach for sampling acoustically active animal species and is particularly useful for elusive, visually cryptic species inhabiting remote or inaccessible habitats. Key advantages of PAM are large spatial coverage and continuous, long‐term monitoring. In most cases, a signal detection algorithm is utilized to locate sounds of interest within long sequences of audio data. It is important to understand the demographic/contextual usage of call types when choosing a particular signal to use for detection. Sampling biases may result if sampling is restricted to subsets of the population, for example, when detectable vocalizations are produced only by a certain demographic class. Using the African forest elephant repertoire as a case study, we test for differences in call type usage among different age‐sex classes. We identified disproportionate usage by age‐sex class of four call types—roars, trumpets, rumbles, and combination calls. This differential usage of signals by demographic class has implications for the use of particular call types in PAM for this species. Our results highlight that forest elephant PAM studies that have used rumbles as target signals may have under‐sampled adult males. The addition of other call types to PAM frameworks may be useful to leverage additional population demographic information from these surveys. Our research exemplifies how an examination of a species' acoustic behavior can be used to better contextualize the data and results from PAM and to strengthen the resulting inference. [ABSTRACT FROM AUTHOR]

The naïve human antibody repertoire has theoretical access to an estimated > 1015 antibodies. Identifying subsets of this prohibitively large space where therapeutically relevant antibodies may be found is useful for development of these agents. It was previously demonstrated that, despite the immense sequence space, different individuals can produce the same antibodies. It was also shown that therapeutic antibodies, which typically follow seemingly unnatural development processes, can arise independently naturally. To check for biases in how the sequence space is explored, we data mined public repositories to identify 220 bioprojects with a combined seven billion reads. Of these, we created a subset of human bioprojects that we make available as the AbNGS database (https://naturalantibody.com/ngs/). AbNGS contains 135 bioprojects with four billion productive human heavy variable region sequences and 385 million unique complementarity-determining region (CDR)-H3s. We find that 270,000 (0.07% of 385 million) unique CDR-H3s are highly public in that they occur in at least five of 135 bioprojects. Of 700 unique therapeutic CDR-H3, a total of 6% has direct matches in the small set of 270,000. This observation extends to a match between CDR-H3 and V-gene call as well. Thus, the subspace of shared (‘public’) CDR-H3s shows utility for serving as a starting point for therapeutic antibody design.

Infection is inconceivable without T cells. T cells not only eliminate virus-infected cells and participate in the formation of immunological memory, but also indirectly modulate the humoral response through the selection and maintenance of specific B cells. The T-cell receptor (TCR) recognizes processed antigen presented on the surface of cells in the MHC of one of two classes. Thus, the formed TCR repertoire reflects the history of encountered antigens through the prism of the specific organism with a particular set of MHC. To investigate changes in the TCR repertoire in response to acute viral infection, we utilized a yellow fever vaccination model. The yellow fever vaccine has been a benchmark for both safety and efficacy for over half a century. The vaccine is based on a live attenuated virus, allowing the study of the immune response under conditions closely to the viral infection. The yellow fever-specific T-cell response to immunodominant peptides presented on HLA-A02 is well studied, but experiments with HLA-A02-negative donors are still lacking. The aim of this study was to examine the dynamics of changes in the T-cell repertoire structure that occur in response to yellow fever vaccination in a donor without the HLA-A02 allele. We found that the overall T-cell response dynamics were similar to that in HLA-A02-positive donors: vaccination led to rapid expansion of yellow fever-reactive clones by day 14. Despite the absence of a known immunodominant epitope for HLA I alleles in this donor, the immune response also shifted towards CD8⁺ T cells, with increasing of the CD8⁺ clones fraction by day 53. The amino acid sequences of CDR3 TCRb yellow fever specific clones formed a stable cluster by CD4⁺ T cells, further confirming the presence of novel immunogenic epitopes.

This article provides an example of the historical production of medical masculinity via a case study of medical practitioners in early 20th century North America within the nascent specialty of urology. By using the analytical concept of “repertoire”, it is argued that this urological masculinity was produced to advance the position of the emerging specialty and simultaneously differentiate it in the eyes of other medical practitioners, as well as to distinguish urologists from their male patients with venereal disease.

The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.

Abstract Background The Atlantic cod is a prolific species in the Atlantic, despite its inconsistent specific antibody response. It presents a peculiar case within vertebrate immunology due to its distinct immune system, characterized by the absence of MHCII antigen presentation pathway, required for T cell-dependent antibody responses. Thorough characterisation of immunoglobulin loci and analysis of the antibody repertoire is necessary to further our understanding of the Atlantic cod’s immune response on a molecular level. Results A comprehensive search of the cod genome (gadmor3.0) identified the complete set of IgH genes organized into three sequential translocons on chromosome 2, while IgL genes were located on chromosomes 2 and 5. The Atlantic cod displayed a moderate germline V gene diversity, comprising four V gene families for both IgH and IgL, each with distinct chromosomal locations and organizational structures. 5’RACE sequencing revealed a diverse range of heavy chain CDR3 sequences and relatively limited CDR3 diversity in light chains. The analysis highlighted a differential impact of V-gene germline CDR3 length on receptor CDR3 length between heavy and light chains, underlining different recombination processes. Conclusions This study reveals that the Atlantic cod, despite its inconsistent antibody response, maintains a level of immunoglobulin diversity comparable to other fish species. The findings suggest that the extensive recent duplications of kappa light chain genes do not result in increased repertoire diversity. This research provides a comprehensive view of the Atlantic cod's immunoglobulin gene organization and repertoire, necessary for future studies of antibody responses at the molecular level.

The purpose of the work is to identify changes in the repertoire policy of these institutions based on the analysis of the activities of the national opera and ballet theaters of Ukraine, which are determined by the influence of Russian military aggression and worldview and value transformations that are being formed in Ukrainian society and are aimed at protecting cultural and national identity. The research methodology is based on such scientific methods as analytical, comparative, and art studies, which made it possible to obtain reasonable research results and formulate appropriate conclusions. The scientific novelty of the work consists in the generalization and systematization of the activities of the national opera and ballet theaters (Kyiv, Lviv, Odesa) in the conditions of military aggression and the study of the corresponding changes in the repertoire policy, caused by the rejection of the repertoire related to Russian culture, instead of the promotion by the national opera theaters and ballet of Ukrainian culture and its values among the international community. Conclusions. As a result of the conducted research, it was established that in the conditions of martial law, art, and in particular opera and ballet, in addition to continuing to perform their immediate functions, become expressions and symbols of indomitability and national stability. Modern productions, reflecting the drama of the time, make it possible to convey the complex emotions of the people, their pain of loss and hope for victory in an artistic form. In addition, national opera and ballet theaters acquire other features in their activities, transform into cultural hubs engaged in charity, volunteering, joining various public initiatives, especially among foreign colleagues and partners. Performances of opera and ballet troupes become an important component of the informational and cultural struggle against aggression, demonstrating the strength and beauty of Ukrainian culture to the world. The abandonment of the Russian repertoire by Ukrainian opera and ballet theaters during the war is a significant and symbolic step, driven by both cultural and political motives, which is part of a wider process of decolonization of Ukrainian culture and a break with the imperial heritage. This step symbolizes the desire for cultural independence, support of national identity and rejection of any form of cultural dependence on the aggressor country. Thus, the national opera and ballet theaters in Ukraine, despite all the difficulties, continue their activities, fulfilling not only a cultural, but also a social and patriotic mission in the conditions of war. [ABSTRACT FROM AUTHOR]

Background: The Atlantic cod is a prolific species in the Atlantic, despite its inconsistent specific antibody response. It presents a peculiar case within vertebrate immunology due to its distinct immune system, characterized by the absence of MHCII antigen presentation pathway, required for T cell-dependent antibody responses. Thorough characterisation of immunoglobulin loci and analysis of the antibody repertoire is necessary to further our understanding of the Atlantic cod's immune response on a molecular level. Results: A comprehensive search of the cod genome (gadmor3.0) identified the complete set of IgH genes organized into three sequential translocons on chromosome 2, while IgL genes were located on chromosomes 2 and 5. The Atlantic cod displayed a moderate germline V gene diversity, comprising four V gene families for both IgH and IgL, each with distinct chromosomal locations and organizational structures. 5'RACE sequencing revealed a diverse range of heavy chain CDR3 sequences and relatively limited CDR3 diversity in light chains. The analysis highlighted a differential impact of V-gene germline CDR3 length on receptor CDR3 length between heavy and light chains, underlining different recombination processes. Conclusions: This study reveals that the Atlantic cod, despite its inconsistent antibody response, maintains a level of immunoglobulin diversity comparable to other fish species. The findings suggest that the extensive recent duplications of kappa light chain genes do not result in increased repertoire diversity. This research provides a comprehensive view of the Atlantic cod's immunoglobulin gene organization and repertoire, necessary for future studies of antibody responses at the molecular level. [ABSTRACT FROM AUTHOR]

String ensemble performance has an interesting history of formation and development. At the same time, there are a number of problems, the solution of which is directly related to the stages of formation of this type of performance. These include the choice of repertoire. The literature of weighty classics is the foundation of ensemble performance, without which the growth and further artistic development of a musician is impossible. Without studying the writings of J. It is impossible to work on the skill of performers in the ensemble class, on such components as the interpretation of the content of the work, the development of technical skills and a sense of style of the era. Using the example of Beethoven's bowed quartets, this article provides methodological recommendations, examines the whole world, the immense cosmic depth and greatness of the composer's soul. L. Beethoven composed quartets throughout his life, and the quartet genre underwent a great evolution in his work. [ABSTRACT FROM AUTHOR]

The article highlights the features of different images created by Firangiz Akhmedova in the operas of Azerbaijani composers. The main goal of the article is to determine the features of the images created by F.Akhmedova in the opera works of Azerbaijani composers. Firangiz Akhmedova, one of the first performers of the Azerbaijani opera stage, perfectly synthesized national roots and Western European traditions. Her activity in the development of the Azerbaijani vocal school, which has deep historical roots, is associated with its inexhaustible talent and intensive creative activity. F.Akhmedova, who has a unique timbre of voice, a wide vocal range, a strong and pleasant voice, managed to create different images in the operas of Azerbaijani composers with the emotionality typical of an oriental woman. Being a soloist of the Azerbaijan State Opera and Ballet Theater, Firangiz Akhmedova had a rich repertoire and created a colorful gallery of images. The outstanding vocalist, who performed with various characters in operas by Azerbaijani composers, conveyed the figurative and emotional character of the images with unique professionalism. F. Akhmedova played an important role in the integration of Azerbaijani vocal art into the world opera scene. From this point of view, F. Akhmedova's work represents an important page in the development of the national vocal school. [ABSTRACT FROM AUTHOR]

Total control over all processes was one of the most distinctive features of state cultural policies in theatre during the communist era. This control was most systematically and carefully exercised with regard to theatre texts and the repertoire. The requirement for the prioritized presence of contemporary Bulgarian plays in the repertoire was valid throughout the entire period. The text outlines the policies towards Bulgarian dramaturgy, tracing which of these policies were consistent throughout the entire period and how they were nuanced over the different years. It also examines the results and consequences of these policies on the development of Bulgarian drama during that time. [ABSTRACT FROM AUTHOR]

Copyright of KADEM Journal of Women's Studies is the property of Women & Justice Association / Kadin & Demokrasi Dernegi 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.)

Introduction: Polymorphisms in the KIR and HLA genes contribute to the diversity of the NK cell repertoire. Extrinsic factors also play a role in modifying this repertoire. The best example is cytomegalovirus, which promotes the expansion of memory-like NK cells. However, the mechanisms governing this phenotypic structure are poorly understood. Furthermore, the influence of age and sex has been understudied. Methods: In this study, we examined these parameters in a cohort of 200 healthy volunteer blood donors, focusing on the major inhibitory KIR receptors and CD94/NKG2A, as well as the differentiation marker CD57 and the memory-like population marker NKG2C. Flow cytometry and two joint analyses, unsupervised and semi-supervised, helped define the impact of various intrinsic and extrinsic markers on the phenotypic structure of the NK cell repertoire. Results: In the KIR NK cell compartment, the KIR3DL1 gene is crucial, as unexpressed alleles lead to a repertoire dominated by KIR2D interacting only with HLA-C ligands, whereas an expressed KIR3DL1 gene allows for a greater diversity of NK cell subpopulations interacting with all HLA class I ligands. KIR2DL2 subsequently favors the KIR2D NK cell repertoire specific to C1/C2 ligands, whereas its absence promotes the expression of KIR2DL1 specific to the C2 ligand. The C2C2Bw4+ environment, marked by strong -21T motifs, favors the expansion of the NK cell population expressing only CD57, whereas the absence of HLA-A3/A11 ligands favors the population expressing only NKG2A, a population highly represented within the repertoire. The AA KIR genotype favors NK cell populations without KIR and NKG2A receptors, whereas the KIR B+ genotypes favor populations expressing KIR and NKG2A. Interestingly, we showed that women have a repertoire enriched in CD57- NK cell populations, while men have more CD57+ NK cell subpopulations. Discussion: Overall, our data demonstrate that the phenotypic structure of the NK cell repertoire follows well-defined genetic rules and that immunological history, sex, and age contribute to shaping this NK cell diversity. These elements can contribute to the better selection of hematopoietic stem cell donors and the definition of allogeneic NK cells for cell engineering in NK cell-based immunotherapy approaches.cters are displayed correctly. [ABSTRACT FROM AUTHOR]

The purpose of the article is to study the main formation stages of the bandura trio "Dyvostruny" of the Lesia Ukrainka Volyn National University (city of Lutsk) in order to examine the development of its artistic activity chronologically, as well as to determine the ensemble's contribution to the development and popularisation of modern bandura art in the local and international music scene. The research methodology is based on the application of general scientific methods such as source studies, historical analysis, culture and art researches, and generalisation method all of which provide an opportunity to analyse and comprehensively highlight the ensemble's undertakings. The scientific novelty lies in the fact that for the first time vast 25-year body of work of the unique Volyn group which is all female bandura trio "Dyvostruny" is systematised chronologically and its multifaceted activities are highlighted (such as participation in professional competitions, concert performances, creation of the new bandura repertoire, sheet music publications, recording and releasing of audio and video albums, thematic programmes on radio and television, popularisation of bandura art and national culture in Ukraine and abroad). Conclusions. The bandura trio "Dyvostruny" of Lesia Ukrainka University in its many years of diverse activities (including being a productive and creative art laboratory, winners of various prestigious professional competitions, fascinating live band, bright representatives of the national artistry as an expression of Ukrainian identity and Volyn melos in inside the country and abroad) solidifies the importance of promoting national arts throughout the world and makes a significant contribution to the musical, aesthetic and patriotic education of the Ukrainian nation. [ABSTRACT FROM AUTHOR]

The scientific research is devoted to the disclosure of the most characteristic features and distinctive particularities of the All-Ukrainian festival competition of academic wind music "Magic Flute". This festival-competition has been held by teachers of the academic wind music and percussion department of the Kryvyi Rih Regional Professional Music College for fifty years. The "Magic Flute" is implemented with the constant support of the educational institution's administration and headed by the director of Musical College, L.V. Rakityanska. On the half-century anniversary, the specialized festival competition showed the uniqueness of its creative face. There are maximizing the introduction of various musical and performance forms (solo, ensemble, and orchestral performance on wind and percussion instruments), constant diversification of the repertoire palette (academic masterpieces, works of various cultural and historical periods), involvement of the broadest possible professional wind and percussion academic instruments, as well as artistic and patriotic relaying of the annual holding of this professional and specialized forum of academic wind musicians and percussionists of the Kryvyi Rih region are creating the achievements in the fiftieth anniversary of the artistic life for the "Magic Flute" academic wind festival-competition. The method of historical and comparative analysis of the most significant events in the chronicle of the "Magic Flute" festival-competition, we will emphasize, with the subsequent determination of the stages of formation and development of this large-scale festival-competition event can become a significant prospect for further scientific investigations regarding the specified topic of the presented scientific article. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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 collapse of the Fundão dam of the Samarco, Vale, and BPH Billiton mining companies in 2015 resulted in the spillage of unprecedented tailings in the Rio Doce Basin, Brazil. It was a disaster of multiple dimensions, generating conflicts between the affected community, mining companies, the government, and the justice system in the search for solutions to recover and repair the damage. Meanwhile, a governance system was created to conduct disaster responses and conflict resolution between those actors. In this article, we investigate how skilled actors in the affected field act to influence disaster governance by producing consequences for policy decisions. The analysis highlights the role of coalitions and action repertories in cooperative and conflicting relationships in the affected people's field. Through mixed-method research, four years of the socio-environmental disaster (2015–2019) were examined through interviews with activists, documentary research, and analysis of protest events. The main argument is that the mobilization of non-state actors in the affected field has influenced disaster governance and the content of compensation policies. Mobilization combined social skills and action repertoires and formed political coalitions to influence decision-making processes. The article contributes to expanding the understanding of the dynamics of political disputes among non-state actors, proposing to broaden the understanding of the repertoires of non-state actors in coalitions to generate consequences for political decisions. [ABSTRACT FROM AUTHOR]

AbstractPast research in the housing-movement literature has assumed a close link between the post-2008 cycle of housing financialization and the resurgence of housing contention in many Western democracies. However, the new cycle of capital accumulation fails to explain why housing movements privilege some strategic forms of contention over others, how tactical innovations occur, and what pathways they develop after cycles of protest. This article returns to the repertoire perspective to analyse the expansion of housing protest repertoires to tenants’ activism in Barcelona. It argues that the repertoire of housing contention has mediated relations between the new cycle of housing financialization and contentious interactions between tenants and landlords in Barcelona’s private-rental sector. Employing the case of the Sindicat de Llogateres (Tenants’ Union of Barcelona) and the Stay Put campaign, this article makes a twofold contribution to explain the transmission and transformation of the established repertoire in the wake of the 2008 financial crisis. [ABSTRACT FROM AUTHOR]

Silesia in the early modern era is an area with a historically unprecedented role, not only in relation to the tradition of Protestant churches, but also Catholic one. A particularly important cultural player there was the Society of Jesus, which used a variety of cultural strategies in its mission. The present article is a systematic review of these forms of activity, organized according to the chronological units. These time categories correspond to the music–theoretical narratives, to the method of meditation codified in Spiritual Exercises, and also to Ludwik Bielawski's zonal theory of musical time. It seems that Silesian Jesuits consciously and consistently used the music performances in the religious culture they animated at all levels of these 'time zones'. Recurrence and periodicity supported the established social habitus and regulated rhythms of the community's cycles of various religious activities. A natural pretext for this regulation was the liturgical cycle, including new elements to the inherited tradition. Elements of this cyclicity may be found in all forms the of Jesuit repertoire and music genres. The community's sacred time was measured out with recurrent performances of music repertoire and stage performances, creating together the rhythm of human life. [ABSTRACT FROM AUTHOR]

ABSTRACT: Pekin ducks are exposed to stressors such as heat stress, enteric pathogens, mycotoxins, and other environmental stressors. We know from wild bird literature that birds communicate through vocalizations. We hypothesized that Pekin ducks would have a diverse repertoire that is affected by the sex, social group, and specific stimuli. We utilized adult Pekin ducks to develop a vocal repertoire. We placed 1 to 4 ducks of varying sexes into a sound chamber with various stimuli used to encourage new vocalizations. Birds were recorded for 20 min with several variations of number and sexes of ducks. Once the ducks were recorded each vocalization that was clipped was named based on a predetermined naming system. We characterized the vocal system of the ducks under each stimulus and social treatment in 4 ways: overall call rates, call diversity, call repertoire, and call spectral properties. In all cases, normality of residuals and homogeneity of variances for GLM and ANOVA models were confirmed using Proc Univariate (SAS v9.4) where a p ≤ 0.05 was considered significant. We found that Pekin ducks produce up to 16 different vocalizations. The treatments had a significant effect on the overall rate of calls given by the ducks (ANOVA: F6,31 = 8.55, p < 0.0001). Ducks produced the most calls by far when someone was sitting in the chamber with them (30.04 ± 4.45 calls/min). For call diversity, we found that there was a significant main effect of hen number (F218 = 12.21, p = 0.0004) but no main effect of drake number (F3,18 = 3.04, p = 0.0555). Cluster analyses indicated that certain types of calls were given under specific conditions. There were generally 6 major clusters of vocal repertoires (R-square = 0.899, Cubic Clustering Criterion = 9.30). Our results suggest that Pekin ducks are affected by the types of stimuli and social environment in how much they vocalize and in the properties of the calls they use. In addition, males and females differ somewhat in the repertoire of the calls they use, and in the spectral properties of their calls.

The article is devoted to the representation of classical music concert in Hollywood cartoons of the 1930s — 1950s. A concert as a symbol of the academic musical culture was well-known to the American cinema audience. The author of the article studies how the cartoons creators rethought the main elements of a concert ceremony using both the general stereotypes related with the world of classical music and the familiar images of American life of the first half of the 20th century. Special attention is focused on the development of a typical concert repertoire in cartoons and its relation to the category of popular classical music. The article gives a detailed analysis of concert types, features of a concert space, the appearance and behaviour of soloists, orchestra players, and conductors, and the evolution of these elements during the Golden Age of Hollywood cartoons. The conclusion is made that a concert in cartoons becomes an ideal object of parody and carnival play which mirror the conflict between high and low art that exists in the mind of the audience and work as assimilation mechanisms for the artistic experience of the elite culture. The methods of history, art studies, and cultural studies are used in the research.

IntroductionPolymorphisms in the KIR and HLA genes contribute to the diversity of the NK cell repertoire. Extrinsic factors also play a role in modifying this repertoire. The best example is cytomegalovirus, which promotes the expansion of memory-like NK cells. However, the mechanisms governing this phenotypic structure are poorly understood. Furthermore, the influence of age and sex has been understudied.MethodsIn this study, we examined these parameters in a cohort of 200 healthy volunteer blood donors, focusing on the major inhibitory KIR receptors and CD94/NKG2A, as well as the differentiation marker CD57 and the memory-like population marker NKG2C. Flow cytometry and two joint analyses, unsupervised and semi-supervised, helped define the impact of various intrinsic and extrinsic markers on the phenotypic structure of the NK cell repertoire. ResultsIn the KIR NK cell compartment, the KIR3DL1 gene is crucial, as unexpressed alleles lead to a repertoire dominated by KIR2D interacting only with HLA-C ligands, whereas an expressed KIR3DL1 gene allows for a greater diversity of NK cell subpopulations interacting with all HLA class I ligands. KIR2DL2 subsequently favors the KIR2D NK cell repertoire specific to C1/C2 ligands, whereas its absence promotes the expression of KIR2DL1 specific to the C2 ligand. The C2C2Bw4+ environment, marked by strong -21T motifs, favors the expansion of the NK cell population expressing only CD57, whereas the absence of HLA-A3/A11 ligands favors the population expressing only NKG2A, a population highly represented within the repertoire. The AA KIR genotype favors NK cell populations without KIR and NKG2A receptors, whereas the KIR B+ genotypes favor populations expressing KIR and NKG2A. Interestingly, we showed that women have a repertoire enriched in CD57- NK cell populations, while men have more CD57+ NK cell subpopulations. DiscussionOverall, our data demonstrate that the phenotypic structure of the NK cell repertoire follows well-defined genetic rules and that immunological history, sex, and age contribute to shaping this NK cell diversity. These elements can contribute to the better selection of hematopoietic stem cell donors and the definition of allogeneic NK cells for cell engineering in NK cell-based immunotherapy approaches.cters are displayed correctly.

The liturgical singing of the Romanian Orthodox Church is monodic, of the Byzantine tradition. From the 19th century, under the influence of the Russian Orthodox Church, multiple voices choral singing penetrates the Romanian worship establishments. The beginnings were timid, isolated, from private initiatives and sometimes encountering the hostility of conservative ecclesiastical traditionalism. After 1959, the introduction of choral singing in the United Romanian Principalities was to be facilitated by state legislation. Choral singing would be used predominantly for the office of the Holy Liturgy. In finding a choral style suitable for the orthodox liturgical ceremonial, three main stylistic directions were outlined, among which the classicalromantic influence created a generous and varied repertoire. [ABSTRACT FROM AUTHOR]

The purpose of the work is to determine the prerequisites and evolutionary processes of the development of the instrumental and performing school in China in the 20th - early 21st centuries. Research methods are based on cultural, historical, comparative approaches based on the principles of knowledge of nature and society. The scientific novelty consists in determining the prerequisites and development of the instrumental and performing school in China, as well as comparing the genres and features of their interaction, which contributed to the formation of new forms of music making. Conclusions. Based on the historical and musicological analysis of the evolution of instrumental and performing arts in China in the 20th and early 21st centuries, it is stated that the development of the phenomenon under study is inseparable from a comprehensive artistic process that covers the entire range of existing genres and forms. At the beginning of the 21st century, Chinese musical culture in general, and its instrumental and performing segment in particular, became an integral part of global musical development, influencing the course of evolution of world musical art. The conducted analysis made it possible to state the rapid growth of all aspects of the instrumental and performing school of the People's Republic of China, the powerful strengthening of the material base, the expansion of the field of education and popularisation of music, the improvement of the quality of training of performing personnel both in China and through the training of Chinese musicians abroad. [ABSTRACT FROM AUTHOR]

Among Adelaide Ristori's great successes, Camma, premiered in Paris on April 23rd, 1857, was written for her by Giuseppe Montanelli. From the perspective of a dramaturgical investigation into how a Grande Attrice chose and construct her repertoire, the correspondence between Montanelli and Ristori is an important case study: the author sends the various acts of the tragedy, as they were completed, to the actress, who gradually comments on their value and offers suggestions for their better stage success, well aware of the strategies to best enhance her own abilities and the expectations of the audience. Ristori's answers, always lucid, focused and decisive, allow us to recognize to what extent a Grande Attrice would intervene on a text, tailormade for her, considering her strengths and abilities. Thus, this essay is about the compositional strategies of the textual score and is based on an in-depth reading of the correspondence, investigated especially with regard to the actress's interventions, whose actual realisation and success are then compared with the final script and the review of the tragedy's outcome with audiences and critics. [ABSTRACT FROM AUTHOR]

Percussion instruments have undergone a long evolution and are considered one of the first instruments created by man. Even today, no composition, no symphony orchestra is complete without the rhythmic sound that percussion instruments bring to them. From ancient times to the present day, percussion instruments inspire people to search for new sounds. In the modern world, where it seems all sounds have already been heard and all melodies have been performed, people strive for even more complex combinations. Many musical instruments, such as the hang and the glucophone, have emerged precisely thanks to experiments in the field of sound synthes [ABSTRACT FROM AUTHOR]

Copyright of Bylye Gody is the property of Cherkas Global University Press 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 article is about the associative process that took place in Villa del Cerro in Montevideo, between 1920s and 1950s, a period of boom and crisis of the meat-packing processing industry that was installed in it, trying to make it relevant. It means, the relationships between workspaces and neighborhood, and the influence of both dimensions in the formation ofworker's identity. The reconstruction of this associative process was carried outfrom secondary sources, local press and a large set of texts based on testimonies, observing that the numerous and diverse organizations that were created in the Cerro nurtured the experiences and repertoires of their neighbors and workers, contributing meaningfully to the formation of their identity. [ABSTRACT FROM AUTHOR]

Wind band has a deep and long-lasting connection to folk-song sources. Societal expectations around music choices and sources are changing, including calls to diversify repertoire and eliminate traditional songs that include offensive language and stereotypes. Concerns about music usage in relation to cultural appropriation are also being amplified. How will teachers, composers, and publishers of band music respond to these calls for change? [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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 Canadian Journal of Law & Society/Revue Canadienne Droit et Societe (Cambridge University Press) is the property of Cambridge University Press 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.)

Many autoimmune diseases are characterized by the activation of autoreactive T cells. The T cell repertoire is established in the thymus; it remains uncertain whether the presence of disease-associated autoreactive T cells reflects abnormal T cell selection in the thymus or aberrant T cell activation in the periphery. Here, we describe T cell selection, activation, and T cell repertoire diversity in female mice deficient for B lymphocyte-induced maturation protein (BLIMP)-1 in dendritic cells (DCs) (Prdm1 CKO). These mice exhibit a lupus-like phenotype with an expanded population of T follicular helper (Tfh) cells having a more diverse T cell receptor (TCR) repertoire than wild-type mice and, in turn, develop a lupus-like pathology. To understand the origin of the aberrant Tfh population, we analyzed the TCR repertoire of thymocytes and naive CD4 T cells from Prdm1 CKO mice. We show that early development and selection of T cells in the thymus are not affected. Importantly, however, we observed increased TCR signal strength and increased proliferation of naive T cells cultured in vitro with antigen and BLIMP1-deficient DCs compared to control DCs. Moreover, there was increased diversity in the TCR repertoire in naive CD4+ T cells stimulated in vitro with BLIMP1-deficient DCs. Collectively, our data indicate that lowering the threshold for peripheral T cell activation without altering thymic selection and naive T cell TCR repertoire leads to an expanded repertoire of antigen-activated T cells and impairs peripheral T cell tolerance. [ABSTRACT FROM AUTHOR]