Objectives. To identify treatment indications for symptomatic and asymptomatic Florid Cemento- Osseous Dysplasia in adult patients. To explore the relationship between clinical variables, demographics, and radiographic findings. Methods. A systematic review was conducted by an independent investigator using the electronic databases, PubMed, ProQuest, Embase, Web of Science, Dentistry and Oral Sciences Database (DOSS) and TRIP databases to identify cohort, retrospective, and cross-sectional studies on Florid Cemento-Osseous dysplasia treatment options in adults from 2001-2022. Inclusion criteria for this systematic review included: studies must be in English; open-access; published between 2001-2021. The PRISMA guidelines and Joanna Briggs Institute (JBI) Critical Appraisal checklist were used for reporting and quality assessment of each study. Results. From initial 122 studies, 11 fit the criteria and were analyzed for this systematic review. Black females were reported to have significant presentation for FCOD. Mean age of patients was 40 years old. Eight studies reported symptoms as clinical presentation of FCOD, making it the most common. Six studies reported swelling and three studies reported infection. Five studies recommended surgical treatment in symptomatic patients with disturbances around the lesions such as, presence of necrotic bone, secondary infection, or neoplasia. Treatment of asymptomatic FCOD or biopsies were contraindicated in all studies but one, while dental prophylaxis was recommended. Conclusion. For cases of Asymptomatic FCOD, dental prophylaxis and monitoring were the most common treatment options provided. According to existing literature, symptomatic FCOD may be treated through curettage, blood stimulation, or pulp vitality testing of specific areas with periapical inflammation. Continued dental prophylaxis and monitoring were the most common treatment options suggested. More research should be done using experimental and clinical trials to explore proper treatment options for symptomatic and asymptomatic FCOD to draw clear consensus. / Oral Biology

Les neumes aquitains dont les formes sont proches de celles des liquescences, bien qu’ils soient utilisés indépendamment des situations phonétiques, sont traditionnellement considérés comme les « graphies particulières » propres aux versaria polyphoniques : Paris, Bibliothèque nationale de France, fonds latin, 3549 et 3719. La présente thèse identifie ces neumes comme l’oriscus spécial, d’une forme rare, employé en plus de l’oriscus aquitain normatif. Dans le versarium 3719 l’usage de l’oriscus spécial est lié aussi aux autres phénomènes notationnels, comme les liaisons entre les éléments neumatiques descendants. La thèse relève l’existence de l’oriscus spécial dans un petit nombre de manuscrits de la notation aquitaine monodique, parmi les 150 manuscrits de la Bibliothèque nationale de France. Quant aux phénomènes notationnels adjacents à l’oriscus de cette forme, ils appartiennent à une évolution graphique du tractulus/punctum aquitain le plus fortement prononcée au Sud-ouest du domaine de la notation aquitaine. Les graphies particulières ne sont donc pas circonscrites strictement au sein des versaria polyphoniques aquitains, comme cela a été supposé jusqu’à présent. L’oriscus spécial remplit des fonctions spécifiques dans les versaria polyphoniques aquitains, principalement, l’ornementation des intervalles en vertical et la coordination de la rencontre des voix. Ainsi, en intégrant cet oriscus dans l’arsenal de sa neumatique, la notation aquitaine de conception monodique s’adapte à la tâche de noter les chants polyphoniques, adéquatement aux besoins de l’écriture musicale du discantus orné. / The neumes which are close in their shape to the Aquitanian liquescence signs, but are used independently of the phonetic circumstances, are usually considered as the “neumatic peculiarities” specific to the Aquitanian versaria: Paris, Bibliothèque nationale de France, lat. 3549 and lat. 3719. The present thesis identifies these neumes as the Aquitanian special oriscus of an uncommon shape, employed in the versaria additionally to the Aquitanian oriscus of the common shape. This oriscus is connected to some other notational phenomena of the versarium 3719, like the ligatures that occur in the down-going neumes.The present thesis reveals the existence of the special oriscus in a small amount of sources, among the 150 manuscripts of the Bibliothèque nationale that carry Aquitanian neumatic notation. As to the other notational phenomena connected to the oriscus, these belong to a graphical development of the Aquitanian tractulus /punctum which shows itself most strongly in the South-west of the Aquitanian notation area. The neumatic peculiarities are therefore not contained exclusively in the corpus of Aquitanian polyphonic versaria, as it was supposed.The special oriscus carries some specific functions in the polyphonic versaria. Basically, these functions are related to the ornamentation of an interval between the voices and the process of the voice alignment. Therefore, we conclude that the Aquitanian notation, by integrating the special oriscus and conferring on it some specific functions, adapts itself adequately to the needs of the polyphonic language which was developed by the florid Aquitanian discantus in the late XIth and the early XIIth centuries.

Der Unterricht ›Polyphonie XVe– XVIIe siècles‹ wurde 1992 von Xavier Darasse gegründet, Rektor des CNSMD in Paris, und von Anfang an den Autor übertragen. Es handelt sich um eine der fünf Disziplinen der Spezialisierung ›écriture musicale‹ (Harmonie, Kontrapunkt, Fuge und Formen, 20.–21. Jahrhundert) und die einzige, die auf ein älteres Repertoire eingeht. Sie lebt von einem sehr offenen Geist und stützt sich grundsätzlich genauso auf alte wie auf aktuelle musikalische und theoretische Quellen. Das Repertoire, das erarbeitet wird, erstreckt sich in etwa über die Jahre 1475–1625, also über 150 Jahre. Die Werke, die als Modelle für die Komposition dienen, stammen sowohl von richtungsweisenden Komponisten wie Josquin, Lassus, Palestrina, Guerrero, Marenzio oder Monteverdi wie auch von Meistern spezieller Kompositionen wie dem englischen Madrigal oder dem deutschen polyphonen Choral. Ansonsten wird das Repertoire, das erarbeitet wird, fast jedes Jahr neu aufgestellt. In der Abschlussprüfung muss der Prüfling der Jury drei Werke präsentieren: ein mehrchöriges Stück (8 oder 12 Stimmen), in der Regel geistlich, ein kurzes, technisch anspruchsvolles Stück (z.B. ein komplexer Kanon) und ein Stück mit vier oder fünf Stimmen, das einem sehr charakteristischem Genre zuzuordnen ist (z.B. ein Madrigal), das in der ›mise en loge‹ erarbeitet wird. Dem Text und seinem Bezug zur Musik im Kontext der freien Künste und besonders der Rhetorik werden große Aufmerksamkeit geschenkt, vor allem dargestellt von den deutschen Musiktheoretikern der Renaissance. Das Curriculum folgt einem sehr radikal fortschreitendem Weg und geht dabei von einem einfachen Kontrapunkt zu zwei Stimmen (gesungen oder geschrieben) zum ›fleuri‹ mit 8 oder 12 Stimmen über. Ein Unterricht dieser Art sieht sich als Ergänzung der anderen Disziplinen der Komposition und bemüht sich, die Kenntnis des ›klassisch‹ genannten Repertoires auf älteren notwendigen und ausreichenden Basen zu festigen. / The author of this article had the privilege of taking the course Polyphonie XVe– XVIIe siècles, which was founded in 1992 by Xavier Darasse, Rector of the CNSMD in Paris, from its inception. The course deals with one of the five specialized disciplines of écriture musicale (harmony, counterpoint, fugue and form, 20th – 21st century); it is also the only course that includes early music. It is infused with a very open spirit and makes use of both older and newer musical and theoretical sources. The repertoire examined in the course ranges from 1475 to 1625 and thus over 150 years. The works that serve as compositional models also stem from significant composers like Josquin, Lassus, Palestrina, Guerrero, Marenzio, and Monteverdi, as well as masters of specific genres like the English madrigal or the German polyphonic chorale. Moreover, the repertoire treated in the course changes almost every year. In the final examination the candidate must present the jury with three works: a polychoral piece (8 or 12 voices; generally sacred); a brief, technically demanding pieces (e.g. a complex canon), and a piece with four or five voices taken from a specific genre (e.g. a madrigal), which is written in isolation (mise en loge). Great attention is paid to the text and its relation to the music in context of the liberal arts and especially rhetoric as represented by German music theorists of the Renaissance. The curriculum follows a radically progressive path and goes from simple counterpoint in three voices (sung or written) to florid counterpoint with 8 or 12 voices. Instruction of this kind can be understood as complementary to other compositional disciplines and attempts and provide a traditional and most necessary foundation for knowledge of the above-named “classical” repertoire.

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