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Christianity emerged valuing horizontal socio-political relations, which it inherited from Jesus Christ, and which resonated with the ideals of ancient Greek and Roman republicanism. As the church engaged with the Roman Empire, its republican roots faded, adopting monarchical traits. Still, republicanism never disappeared from the church or the Christian Empire. In the former, it took the form of synodality and became reflected in the ways of electing bishops. In the latter, the church became a part of the power-sharing system, effectively substituting the Senate. In contrast to the stereotype that the church is intrinsically monarchical and supports monarchies, this paper argues that the original Christian ethos is more republican than monarchical. As a result, the church has the potential to enhance democracies in the modern geopolitical landscape. [ABSTRACT FROM AUTHOR]

The first appearance of the clarinet in the symphonies of the Mannheim School is a milestone often noted in music history. However, few serious attempts have been made to address questions regarding its historical significance and musical effects. This study attempts to do so by examining the symphonies of Johann Stamitz in which it was first introduced. The first movements of the first, third, and fifth symphonies from La Melodia Germanica Op. 11. are the subjects that this thesis explores. The clarinet made a contribution to the rich articulation of the musical languages of the time, employing a cyclic formal framework, as exemplified by the third and fifth symphonies from La Melodia Germanica. While as in its first symphony, Stamitz positioned the clarinet within a structural framework that anticipated the Classical sonata form. He accorded greater significance to dramatic, complex, and tense effects in it. The clarinets also contribute to these effects. [ABSTRACT FROM AUTHOR]

The article discusses the creation of Beethoven's nine symphonies by Barry Cooper, providing detailed insights into the compositional process of each symphony. Cooper's study is comprehensive, synthesizing all nine symphonies with 102 sketch transcriptions to support his analysis. The article also highlights Cooper's challenges to accepted wisdom, such as questioning Carl Czerny's claims about Beethoven's compositional process. Overall, Cooper's work sheds new light on Beethoven's symphonies and their transformative impact on the art of music. [Extracted from the article]

In an increasingly interconnected world, understanding of cultures, traditions and systems of different countries is of growing importance. This article aims to acquaint readers of this journal with library systems in Namibia, shedding more light on its goals, history, and various branches such as the National Library of Namibia, the National Archives of Namibia, as well as special, academic, and school libraries. Through statistical data on services offered and user demographics, the author provides insights into the current landscape of libraries in Namibia. Additionally, the article addresses challenges faced by these institutions, ultimately concluding that while the library systems in Namibia has made significant strides since Namibia gained independence, further efforts are required for its continued development and enhancement.

The creative heritage of composer N.N. Sidelnikov (1930-1992) covers many musical genres — from piano miniatures and film music to large-scale oratorio and symphonic concepts. As a professor at the Moscow Conservatory, Sidelnikov always followed current artistic trends, masterfully rethinking and refining them in his creative work. Sidelnikov’s instrumental music represents one of the most important and at the same time unexplored areas of his activity. Nevertheless, seventeen works for solo instrument, ensembles and orchestra form a large layer in his legacy and clearly characterize the composer’s creative individuality. Performing instrumentalists in Sidelnikov’s works are not regulated by the traditions of musical genres — for example, his heritage includes symphonies for a solo instrument, an ensemble and an orchestra. The genres are most often mixed, and a set of certain genre features, as a rule, is determined by a specific author’s idea; meanwhile, double genre definitions (symphony-sonata, concert symphony, symphony-divertimento, etc.) raise questions of the relationship between several genre definitions within one composition. In the composer’s diverse and heterogeneous instrumental heritage, there is a clear tendency for him to turn to several favourite topoi — certain ‘common places’ that are characterized by a certain theme and means of musical language characteristic of its expression. From the above it follows that the question of systematizing Sidelnikov’s instrumental works is ambiguous and may involve different approaches — depending on performing instrumentalists in a musical work or a group of compositions belonging to different toposes. In this article we consider both approaches and their relevance in relation to the composer’s legacy.

When he first heard in May of 1804 that Bonaparte intended to declare himself emperor, Beethoven famously tore off the dedication page of his third ('Eroica') symphony. In roughly the same time-frame during 1804–05 Wordsworth was coming to the conclusion of his first full version of The Prelude (completed May 20, 1805), with similar attention to Napoleon. I want to use this compositional coincidence as a lead-in to a concentrated reading of Book X of The Prelude which can lead to a stronger connection between Wordsworth and not just Beethoven, but the whole of nineteenth-century European literature, especially the great tradition of novels in France. By following carefully his intricate structuring of the stages of his crisis and its resolution we can arrive at a new way of seeing Wordsworth's links to the broad landscape of nineteenth-century European literature. [ABSTRACT FROM AUTHOR]

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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.)

Modern precision sequencing techniques have established humans as a holobiont that live in symbiosis with the microbiome. Microbes play an active role throughout the life of a human ranging from metabolism and immunity to disease tolerance. Hence, it is of utmost significance to study the eukaryotic host in conjunction with the microbial antigens to obtain a complete picture of the host-microbiome crosstalk. Previous attempts at profiling host-microbiome interactions have been either superficial or been attempted to catalogue eukaryotic transcriptomic profile and microbial communities in isolation. Additionally, the nature of such immune-microbial interactions is not random but spatially organised. Hence, for a holistic clinical understanding of the interplay between hosts and microbiota, it's imperative to concurrently analyze both microbial and host genetic information, ensuring the preservation of their spatial integrity. Capturing these interactions as a snapshot in time at their site of action has the potential to transform our understanding of how microbes impact human health. In examining early-life microbial impacts, the limited presence of communities compels analysis within reduced biomass frameworks. However, with the advent of spatial transcriptomics we can address this challenge and expand our horizons of understanding these interactions in detail. In the long run, simultaneous spatial profiling of host-microbiome dialogues can have enormous clinical implications especially in gaining mechanistic insights into the disease prognosis of localised infections and inflammation. This review addresses the lacunae in host-microbiome research and highlights the importance of profiling them together to map their interactions while preserving their spatial context. [ABSTRACT FROM AUTHOR]

This article deconstructs the intersections of form, counterpoint, and narrative that contribute to parody in the third movement Rondo-Burleske of Gustav Mahler's Ninth Symphony. Motivic counterpoint problematizes the movement's main rondo theme, placing initial cracks in the movement's rondo façade. Through thematic and formal counterpoint, the rondo genre itself destabilizes as signifiers of sonata-form rhetoric intrude. To interpret how counterpoint and generic mixture contribute to the burlesque character of the movement, I consider theoretical accounts of parody and the burlesque, and I adapt, as a generative metaphor, Mikhail Bakhtin's notion of the carnivalesque. In the context of the Ninth Symphony's transsymphonic narrative, the Rondo-Burleske performs a carnival parody of the symphonic finale genre, functioning as a brazen, iconoclastic, but in the end, failed counterpart to the first movement. [ABSTRACT FROM AUTHOR]

The SARS-CoV-2 pandemic has affected 771 million people and caused 6.9 million confirmed deaths as of November 2023. Beyond the adversity, a crucial and less-explored chapter unfolds: adaptive sequelae. These have altered social, mental, and emotional conditions, leaving an imprint on biological systems. While some cases fully resolve the pathological process post-acute infection, others persist with symptoms, posing a challenge that underscores the need to comprehend pathophysiology from innovative perspectives. The article delves into "Long COVID" or Post-Acute COVID-19 Syndrome (PACS), where symptoms persist for =4 weeks irrespective of initial severity. Risk factors include a history of severe illness, in-hospital management, and intensive care. This article also explores theories, derived from various experimental models, that have demonstrated the involvement of the nervous system in coordination with the psychoneuroimmunoendocrine axes in the expression of inflammation. It is posited that PACS involves processes of peripheral and central sensitization (corticalization), facilitating dishomeostasis and the chronicity of the inflammatory process. In this context, various therapeutic strategies grounded in modulating the inflammatory reflex are reviewed, primarily through the infiltration of local anesthetics via linear and non-linear approaches. Neural therapeutic use is considered to stimulate the regulatory inflammatory circuits coordinated by the neuroimmune-endocrine system. [ABSTRACT FROM AUTHOR]

This article provides a detailed response to Markus Neuwirth and Martin Rohrmeier's article 'Wie wissenschaftlich muss Musiktheorie sein?', published in the Zeitschrift der Gesellschaft für Musiktheorie in 2016. I undertake to nuance their call for the wholesale adoption of machine‐assisted corpus‐based methods in music theory through a detailed appreciation of work‐specific analysis as is has been practiced in American music theory. The argument unfolds through three case studies: of David Lewin's 1982 analysis of Schubert's 'Auf dem Flusse'; of Vasili Byros's more recent approach to the Eroica Symphony; and then of Lewin again, on Schubert's 'Morgengruß'. By means of these examples, I probe where corpus‐based methods can enhance traditional approaches and what new avenues of research they make possible, but I also emphasise those aspects of work‐specific analysis that elude their grasp. [ABSTRACT FROM AUTHOR]

The purpose of the work is to reveal the poetic-intonational spiritual-symbolic aspects of the organ symphony "Noël" by P. de Malengro in the direction of stylistic and spiritual-philosophical searches of the Franco-Belgian culture of the second half of the 19th and early 20th centuries. Research methodology. An interdisciplinary, genre-stylistic, historical-cultural approach was essential for this work, allowing to explore the factors contributing to the discovery of the spiritual-semantic specificity of the concept of "symphony" in all its variety of meanings. The scientific novelty of the work is determined by the introduction into musicological use of materials from the organ symphony "Noël" by P. de Malengro, the poetics of which was formed at the intersection of the artistic, spiritual and musical traditions of the Northern Renaissance and French modernism. Conclusions. An overview of the use of the term "symphony" in the cultural-historical and spiritual practice of different eras testifies not only to the breadth of its semantic and applied meanings, but also to the presence of general semantic indicators, in accordance with which a symphony ultimately implies a certain integrity in which merge, different numerous components are combined. A symphony as a musical work is an equally complex and comprehensive concept that represents the most diverse "models" of this genre. The organ symphony "Noël" by P. de Malengro represents the typology of the "spiritual symphony". Its expressiveness, related to the biblical mystery of Christmas, is strengthened by the composer's appeal also to the masterpieces of the Northern Renaissance (Rogir van der Weyden and the van Eyck brothers). Symphony "Noël" is a free composition (4 parts) of the suite-variation type, a "symphony-mystery", the thematic basis of which is Gregorian chants, as well as the corresponding principles of their texture and mode-intonation development (monody, heterophony, various forms of polyphonic development, reproduction of the spiritual and vocal practice of discanting of the Notre Dame School). The poetics of such a "symphony-mystery" is significantly supplemented by an appeal to the timbre qualities of the so-called "symphonic organ", the universalism of performance, dynamic and timbre-intonation capabilities of which turned out to be literally correlated with the universalism of the symphony genre as such. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of the L.N. Gumilyov Eurasian National University. Journalism Series is the property of L.N. Gumilyov Eurasian National University 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 Notes Muzyczny is the property of Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczow w Lodzi 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 discusses two separate books that explore different aspects of music history. The first book focuses on interwar symphonies in the year 1933 and examines the works of composers such as Weill, Pfitzner, Harris, Copland, Honegger, and Price. The author argues that symphonies can provide insight into composers' relationships with society and explores the tension between the individual and the collective. The second book examines French art song from 1870 to 1914 and challenges the perception that it is inferior to other musical forms. The author explores the experimentation and significance of the genre within French musical life and presents it as a form of "new music" deserving of recognition and study. [Extracted from the article]

The last decade on the 19th century saw a major crisis of identity in what is known today as Finland. Having emerged from under centuries of Swedish rule and being incorporated into the Russian Empire, the population turned to its true ethnic roots. The compilation and the publishing of the Kalevala set in motion a series of cultural and artistic events which resonated deeply with the political aspirations of the moment. Amidst this effervescence came the young Jean Sibelius to present one of his earliest monumental works, Kullervo Op 7. Often mislabeled as a symphonic poem, this programmatic symphony draws upon the story of the Kalevala's 6th cycle. The unfolding plot is a typical tragic hero story set in a very Finnish framework. The composer had therefore to solve the task of presenting a particular version of a universal archetype and to create a symphony that can be both a testament to the struggles of his own time and a monument within the history of universal music. [ABSTRACT FROM AUTHOR]

This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers' interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled "Flemish Legend" by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled "On the Wave of My Memory" composed by pop composer David Tukhmanov, based on the poems of poets with a "decadent" reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times. [ABSTRACT FROM AUTHOR]

The article focuses on the challenges faced by organizations in today's corporate environment, such as ensuring product quality, establishing partnerships & maximizing resource allocation. Topics include TPL Manufacturing's digitalization journey to address inefficiencies; streamline operations; and foster collaboration through integrating ISO standards, aiming to achieve Industry 4.0 success with improved operational efficiency and customer-centric approaches.

This article examines the work of Yanov-Yanovsky, an Honored Artist of the Republic of Uzbekistan and a leading modern composer. Professor F. M. Yanov-Yanovsky has played a vital role in advancing the Uzbek school of composers, showcasing his unparalleled talent, artistic insight, and versatility as a composer, performer, and educator. His impact spans the entire field of contemporary compositional art in Uzbekistan. His personal and professional life are closely connected, mirroring the significant changes in the country over the last fifty years. The article highlights his diverse portfolio, which includes both classical and contemporary works. Yanov-Yanovsky's refusal to be restricted to one artistic path is evident in his broad range of compositions, such as poems, symphonic suites, instrumental concertos, and symphonies. His work seamlessly merges classical traditions with modern stylistic elements, demonstrating his mastery in both chamber and large symphonic formats. He excels in portraying lyrical, tragic, sarcastic, sorrowful, and poetic themes. Some of his pieces are known for their delicacy, fragility, and meditative nature, while others stand out for their intense emotionality and internal tension. His meticulous attention to detail, artistic craftsmanship, and rational approach are reflected in the clarity and balance of his musical ideas. Yanov-Yanovsky's body of work includes symphonies, concertos, oratorios, operas, chamber instrumental and vocal pieces, music for theater and film, and popular songs. He has significantly contributed to Uzbekistan's film industry, composing music for numerous films produced by the Uzbekfilm studio, which showcases the diversity of his work. Since the early stages of his career, Yanov-Yanovsky has also been involved in teaching at the State Conservatory of Uzbekistan, balancing his educational role with administrative responsibilities. [ABSTRACT FROM AUTHOR]

The article in the Wagner Journal discusses two unique recordings that delve into historically informed performance (HIP) of Wagner's lesser-known and early works. The first recording by KammerMusikKöln emphasizes intimate passages in Wagner's style, while the second recording features Siegfried Wagner's compositions performed with HIP techniques. The recordings showcase a blend of French songs, Wesendonck Lieder, and orchestral selections, shedding light on the lesser-known works of both composers. The article highlights the cultural significance of exploring these works and encourages a broader appreciation for the diverse musical influences present in Wagner's and Siegfried Wagner's compositions. [Extracted from the article]

Epigenetic machinery is a cornerstone in normal cell development, orchestrating tissue-specific gene expression in mammalian cells. Aberrations in this intricate landscape drive substantial changes in gene function, emerging as a linchpin in cancer etiology and progression. While cancer was conventionally perceived as solely a genetic disorder, its contemporary definition encompasses genetic alterations intertwined with disruptive epigenetic abnormalities. This review explores the profound impact of DNA methylation, histone modifications, and noncoding RNAs on fundamental cellular processes. When these pivotal epigenetic mechanisms undergo disruption, they intricately guide the acquisition of the 6 hallmark characteristics of cancer within seemingly normal cells. Leveraging the latest advancements in decoding these epigenetic intricacies holds immense promise, heralding a new era in developing targeted and more efficacious treatment modalities against cancers driven by aberrant epigenetic modifications. [ABSTRACT FROM AUTHOR]

Following the end of his tenure with the Vienna Philharmonic in 1901, Gustav Mahler conducted more concerts than ever outside the imperial capital, including two performances of his Symphony No. 1 as part of the Philharmonic Society of Lemberg's first season in 1903. In Lemberg, today the city of Lviv in western Ukraine, the symphony received an overall favourable and, perhaps unknowingly, perceptive critical reception, in contrast to the notoriously harsh reviews penned by critics in Vienna three years earlier. As a means of exploring such different responses in the centre and on the periphery of the Habsburg empire, I suggest that a common language of pluralities, which Mahler shared with the region of Galicia's quotidian heterogeneity and emerging modernist movements, allowed the Leopolitan public to be ahead of Vienna in their openness to the early modernist modes of expression that would soon dominate European culture. [ABSTRACT FROM AUTHOR]

Conductor, composer, director: certainty, fantasy, image, in other words, the intersection of creative destinies. Everything is born with the creative act: the composition of a symphony, then its performance to the general public, spread like a canvas on the fabric of ephemeral time, followed by the creation of audio-visual images. The third character of this fascinating trio performs the reproduction on a film, of the life, activity and career of the latter. Leonard Bernstein was a representative figure of the musical culture of the 20th century. One of his major merits consists in bringing to light, promoting and recording the music of Mahler. The conductor and composer Gustav Mahler is a prominent representative of the Austro-German symphonism of the late 19th century. His prodigious conducting career, manifested in various opera houses in Europe, was crowned with the activity of director and conductor of the "Imperial Opera" in Vienna. Bradley Cooper, a well-known personality in the film industry, in collaboration with Netflix, Inc. creates the controversial film "Maestro". Cooper managed to illustrate moments from the life and work of Leonard Bernstein, awakening the curiosity of film lovers around the world towards the legendary personality of the 20th century American conductor. [ABSTRACT FROM AUTHOR]

The purpose of this work is to highlight the Biedermeier components of Schumann's creative method in line with the pianistic directions of training of F. Wik, K. Wik-Schuman with the justification of the semantic direction of Schumann's works, which are inseparable from Biedermeier aesthetics, in turn, connected with the aesthetic indicators of romanticism. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, comparative and hermeneutic prolongations of intonation in the works of D. Androsova, T. Verkina, O. Kozarenko, I. Kotlyarevskyi, I. Lyashenko, Liu Binjsan, O. Markova, O. Muravska, O. Ryzhova, O. Sokolova, with the use of scientific research methods: art history-analytical, descriptive-historical, cultural-regionalist, hermeneutic. Scientific novelty. For the first time in Ukraine, the Biedermeier side of R. Schuman's compositional thinking is emphasised in connection with his large cyclic works, in which the miniaturism of the components did not remove the romantic scale of thinking, but in the Biedermeier perspective, the avoidance of the author's stylistic egocentrism of expression. Conclusions. The two cycles of R. Schumann taken for analysis constitute a typical output of the composer's piano miniaturism, which stems from the idea of the "Oratorio for piano", namely from his "Carnival", in which the contrasts of tempo-genre juxtapositions, so prominent in romantic theatricality, appear here in the positive of Biedermeier imitation of Rococo sonata-suites, united by the kindness of communication in the latter, and here by the artistic disposition of the subject of the action. The piano version gravitates towards the "diamond" sounds of "light" pianism (Schumann repeatedly singled out Biedermeier in Chopin's playing, bypassing F. Liszt's orchestral discoveries), i.e. the Biedermeier component of the stylistic position of the author of "Carnival", while the mysterious-theatrical contributions testify to an approach to the romantic palette. [ABSTRACT FROM AUTHOR]

Although scholars have typically studied the Nazi concentration camp system through a political and military analysis, another approach is to consider how composers depicted the Holocaust. This article places two works about concentration camps in relation to human rights issues: Hanns Eisler's German Symphony (1935-58) and his mentor Arnold Schoenberg's A Survivor from Warsaw (1947). Both compositions rely heavily on texts to communicate their message. The article integrates Mark Philip Bradley's idea about the 'global human rights imagination': how nonstate actors, such as creative artists, could contribute to discussions about human rights through their art form or profession. [ABSTRACT FROM AUTHOR]

Copyright of Jurnal Nusantara Aplikasi Manajemen Bisnis is the property of Universitas Nusantara PGRI Kediri 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.)

Pheochromocytoma (PCC) is a neuroendocrine tumor that produces and secretes catecholamine from either the adrenal medulla or extra-adrenal locations. MicroRNAs (miRNAs, miR) can be used as biomarkers to detect cancer or the return of a previously treated disease. Blood-borne miRNAs might be envisioned as noninvasive markers of malignancy or prognosis, and new studies demonstrate that microRNAs are released in body fluids as well as tissues. MiRNAs have the potential to be therapeutic targets, which would greatly increase the restricted therapy options for adrenal tumors. This article aims to consolidate and synthesize the most recent studies on miRNAs in PCC, discussing their potential clinical utility as diagnostic and prognostic biomarkers while also addressing their limitations. [ABSTRACT FROM AUTHOR]

The article discusses the commencement of a new production of Wagner's "Ring" cycle in Basel. The production features performances of "Das Rheingold" and "Die Walküre," with "Siegfried" and "Götterdämmerung" scheduled for the future. The director, Benedikt von Peter, presents the action from the perspective of Brünnhilde, with the adult Brünnhilde appearing alongside her younger self in "Das Rheingold" and "Die Walküre." The staging collapses Wagner's timeline, and the production includes spoken reflections by Brünnhilde during pauses in the music. The performances were generally strong, with notable performances by the singers and a smooth orchestral accompaniment. [Extracted from the article]