No description available.

No description available.

Lee Hyla (1952–2014) gehörte zu einer Generation von Komponist_innen, die nachhaltig prägende Einflüsse durch das Spielen in Rock Bands und das Hören von Rock, Punk, Jazz und anderen nicht-klassischen Genres empfingen. Hyla zählt zu den versiertesten Komponisten seiner Generation, doch ist sein Werk kaum erforscht. Die Einflüsse auf seine Musik, u. a. von James Brown, Captain Beefheart, Neil Young und Cecil Taylor, manifestieren sich in seiner Musik in einer Weise, die postmoderne Zitat- oder Verweistechniken überwindet und seinen Zugang zu Rhythmus, Metrum und Phrasierung beeinflusst. Diese Qualitäten sind von einzigartigem Interesse für Hörer_innen und stellen besondere Herausforderungen an die Ausführenden. In der Analyse von Dream of Innocent III (1987) für verstärktes Cello, Klavier und Percussion stelle ich mein analytisches Rahmenkonzept vor, das von Lerdahls and Jackendoffs generativer Theorie tonaler Musik und von Bruce Hayes’ Theorie metrischer Betonungen inspiriert ist. Meine Analyse basiert auf Rhythmus und Metrum und zeigt die Implikationen der Hyla beeinflussenden Musikformen auf die Performance von Phrasierung und Struktur. / Lee Hyla (1952–2014) belonged to a generation of composers whose formative musical experiences included playing in rock bands and listening to rock, punk, jazz, and other nonclassical genres. Hyla is among the most accomplished American composers of his generation, yet his work remains underexamined. His influences, particularly James Brown, Captain Beefheart, Neil Young, and Cecil Taylor, manifest in Hyla’s music in a manner that transcends postmodern quotation or mere reference and affect his approach to rhythm, meter, and phrasing. These qualities provide unique interest for the listener and specific challenges for the performer. Through an analysis of Dream of Innocent III (1987) for amplified cello, piano, and percussion, I present my analytical framework inspired by Lerdahl and Jackendoff’s generative theory of tonal music and Bruce Hayes’s metrical stress theory. My analysis, rooted in rhythm and meter, shows performative implications of Hyla’s influences as related to phrasing and structure.

No description available.

Background: ST-elevation acute myocardial infarction (STEMI) represents one of the leading causes of death. The time of STEMI onset has a circadian rhythm with a peak during diurnal hours, and the occurrence of STEMI follows a seasonal pattern with a salient peak of cases in the winter months and a marked reduction of cases in the summer months. Scholars investigated the reason behind the winter peak, suggesting that environmental and climatic factors concur in STEMI pathogenesis, but no studies have investigated whether the circadian rhythm is modified with the seasonal pattern, in particular during the summer reduction in STEMI occurrence. Methods and Results: Here, we provide a multiethnic and multination epidemiological study (from both hemispheres at different latitudes, n=2270 cases) that investigates whether the circadian variation of STEMI onset is altered in the summer season. The main finding is that the difference between numbers of diurnal (6:00 to 18:00) and nocturnal (18:00 to 6:00) STEMI is markedly decreased in the summer season, and this is a prodrome of a complex mechanism according to which the circadian rhythm of STEMI time onset seems season dependent. Conclusions: The “summer shift” of STEMI to the nocturnal interval is consistent across different populations, and the sunshine duration (a measure related to cloudiness and solar irradiance) underpins this season-dependent circadian perturbation. Vitamin D, which in our results seems correlated with this summer shift, is also primarily regulated by the sunshine duration, and future studies should investigate their joint role in the mechanisms of STEMI etiogenesis.

The main objective of this study is to learn about the audiovisual stimulator and to create hardware resolution of stimulation LED glasses and in environment of the program LabView application, which operate this stimulation LED glasses and in the same time create sound of stimulation. Use environment of the program LabView. Application, which is create in environment of the program LabView, enable operate stimulation LED glasses and arrange sound from three source with two different method, which use modern AVS. Application contains a lot of security, informative and agreement components.

No description available.

No description available.

Background: ST-elevation acute myocardial infarction (STEMI) represents one of the leading causes of death. The time of STEMI onset has a circadian rhythm with a peak during diurnal hours, and the occurrence of STEMI follows a seasonal pattern with a salient peak of cases in the winter months and a marked reduction of cases in the summer months. Scholars investigated the reason behind the winter peak, suggesting that environmental and climatic factors concur in STEMI pathogenesis, but no studies have investigated whether the circadian rhythm is modified with the seasonal pattern, in particular during the summer reduction in STEMI occurrence. Methods and Results: Here, we provide a multiethnic and multination epidemiological study (from both hemispheres at different latitudes, n=2270 cases) that investigates whether the circadian variation of STEMI onset is altered in the summer season. The main finding is that the difference between numbers of diurnal (6:00 to 18:00) and nocturnal (18:00 to 6:00) STEMI is markedly decreased in the summer season, and this is a prodrome of a complex mechanism according to which the circadian rhythm of STEMI time onset seems season dependent. Conclusions: The “summer shift” of STEMI to the nocturnal interval is consistent across different populations, and the sunshine duration (a measure related to cloudiness and solar irradiance) underpins this season-dependent circadian perturbation. Vitamin D, which in our results seems correlated with this summer shift, is also primarily regulated by the sunshine duration, and future studies should investigate their joint role in the mechanisms of STEMI etiogenesis.

Die Entwicklung der Musik im 20. Jahrhundert hat das Fach Gehörbildung vor neue Herausforderungen gestellt. Durch einen neuen Umgang mit den musikalischen Parametern (Tonhöhe, Klangfarbe, Dauer und Lautstärke) drohte die übliche Form des Gehörbildungsunterrichts und dessen traditioneller Gegenstand (Melodie, Harmonie, Rhythmus) als überholt betrachtet zu werden. Diese Situation hat ein neues Fach hervorgebracht, das an der Grenze zwischen Gehörbildung und Analyse angesiedelt ist. Angesichts der Komplexität der im 20. Jahrhundert stark individuell geprägten Tonsprache eines jeden Komponisten, die das unmittelbare Verständnis eines Werkes erschweren kann, scheint es absolut notwendig, den Studierenden mehr abzuverlangen als das Erarbeiten technischer Hörreflexe und das Beherrschen handwerklicher Mittel. Sie sollten über die Oberfläche eines ersten Höreindruckes hinausgeführt werden und mit rhythmischen und formalen Strukturen, Klangphänomenen sowie mit Aspekten der Zeitbehandlung oder der Zeitwahrnehmung konfrontiert werden. Ihre Hörfähigkeit sollte hinsichtlich dieser Parameter entwickelt und ihr Bewusstsein für die Problematik der Rezeption des zeitgenössischen Repertoires geschärft werden. Die Gleichbedeutung des Gelesenen und des Gehörten sollte für einen Berufsmusiker die technische Basis bilden und das innere Hören der gelesenen Partituren sowie das unmittelbare Sehen eines Schriftbildes des Gehörten sollten automatisch erfolgen können. Darüber hinaus scheint es wichtig, mit dem Unterschied zwischen dem ›Hörbaren‹ (die wahrnehmbaren musikalischen Strukturen) und dem ›Unhörbaren‹ (dem Intentionalen sowie dem Handwerklichen) konfrontiert zu sein. Am Beispiel der ersten Offrande von Edgar Varèse wird eine höranalytische Arbeit präsentiert, die diese Herausforderung entspricht: Ziel war es, die reine Beschreibung des Ablaufs und der verschiedenen musikalischen Ereignissen des Stückes für eine tiefgreifendere Analyse zu nutzen, die sich nicht auf der Oberfläche der instinktiven Wahrnehmung der Musik beschränkt, sondern versucht, die Homogenität des scheinbar zerstreuten musikalischen Materials und die Interaktion dessen einzelnen Elementen zu erfassen, um die tatsächlich sehr kompakte und dichte Einheitlichkeit des Stückes ans Licht zu bringen. Erst mit einem klaren und präzisen Verständnis dieser engen Verknüpfungen kann ein globales Hören des Stückes zu einem richtigen Hör-Erlebnis werden, das eine tiefere Bedeutungsebene der Musik erreicht. / The development of music in the 20th century has presented new challenges for the subject of ear training. Due to new approaches to musical parameters (pitch, timbre, duration and volume), the usual form of ear training and its traditional object (melody, harmony, rhythm) is threatened with obsolescence. This situation has created a new subject located on the boundary between ear training and analysis. Given the complexity of each composer’s highly individual language in the 20th century, which can obscure the comprehension of these works, it seems necessary to demand more from students than the development of technical listening reflexes and the mastery of craftsmanship. They should be carried beyond the surface of a first impression to be confronted with rhythmic and formal structures, sound phenomena as well as aspects of time treatment or perception of time. Their hearing ability should be developed in consideration of these parameters as well as their awareness of the problem of reception of the contemporary repertoire. Bringing into equivalence that which is read with what is heard should form the technical basis for a professional musician. Thus, the inner hearing of the score as well as the formation of a clear picture of what is sounding should automatically take place. In addition, it seems important to be confronted with the difference between the “audible” (the perceptible musical structures) and the “inaudible” (the musical thinking and craftsmanship). Using the example of the first of Edgar Varèse’s Offrandes, a hearing-analytical work is presented that meets this challenge: the aim was to use a pure description of the piece’s various musical events for a deeper analysis, one which is not limited to the surface of the instinctive perception of the music but tries instead to grasp the homogeneity of the seemingly scattered musical material and illuminate the piece’s compact unity through the interaction of its individual elements. Only with a clear and precise understanding of these close connections can exposure to the piece become a real listening experience that reaches the music’s deeper levels.