63,856 research outputs found
Britten and Keller: letters and life
No full textCorrespondence between Benjamin Britten and Hans Keller with commentary by Alison Garnham
Hans Keller: Britten: essays, letters and opera guides
No full textA selection of Hans Keller's writings on Benjamin Britten including previously unseen correspondence and reprints of long unavailable writings.
It was hearing an early performance of Benjamin Britten's Peter Grimes that turned the young emigré writer and musician Hans Keller from psychology to music. Thereafter he became the composer's most fervent advocate, devoting to him a whole issue of Music Survey (the journal he edited with Donald Mitchell) and the first comprehensive book on his music (again edited with Mitchell). This volume is a selection of the best of his writings, dealing with Peter Grimes through to Death in Venice and the Third String Quartet. It also includes an illustrated study by A. M. Garnham of the extensive correspondence between Britten and Keller (most of it hitherto unknown), are print of the handbooks on The Rape of Lucretia and Albert Herring (long out-of-print), and items from the Hans Keller Archive in the University of Cambridge. The book is illustrated with drawings from life by Milein Cosman
Patients' unvoiced agendas in general practice consultations.
No full textObjective: To investigate patients' agendas before consultation and to assess which aspects of agendas are voiced in the consultation and the effects of unvoiced agendas on outcomes. Design: Qualitative study. Setting: 20 general practices in south east England and the West Midlands. Participants: 35 patients consulting 20 general practitioners in appointment and emergency surgeries. Results: Patients' agendas are complex and multifarious. Only four of 35 patients voiced all their agendas in consultation. Agenda items most commonly voiced were symptoms and requests for diagnoses and prescriptions. The most common unvoiced agenda items were: worries about possible diagnosis and what the future holds; patients' ideas about what is wrong; side effects; not wanting a prescription; and information relating to social context. Agenda items that were not raised in the consultation often led to specific problem outcomes (for example, major misunderstandings), unwanted prescriptions, non-use of prescriptions, and non-adherence to treatment. In all of the 14 consultations with problem outcomes at least one of the problems was related to an unvoiced agenda item. Conclusion: Patients have many needs and when these are not voiced they can not be addressed. Some of the poor outcomes in the case studies were related to unvoiced agenda items. This suggests that when patients and their needs are more fully articulated in the consultation better health care may be effected. Steps should be taken in both daily clinical practice and research to encourage the voicing of patients' agenda
The solo cello music of Benjamin Britten : an analysis : First cello suite, op. 72, Second cello suite, op. 80, Third cello suite, op. 87, and Tema Sacher
No full textThe purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition.Thesis (D.A.)School of Musi
Figure 6 in Can hair width and scale pattern and direction of dorsal scapular mammalian hair be a relatively simple means to identify species?
No full textFigure 6. Scanning electron micrographs of mammalian hair. Merriam's shrew guard hair (A); broad-footed mole guard hair (C, F) and underfur (B, D, E).Published as part of Sessions, Britten D., Hess, Wilford M., Wesley, Skip & Skidmore, 2009, Can hair width and scale pattern and direction of dorsal scapular mammalian hair be a relatively simple means to identify species?, pp. 489-507 in Journal of Natural History 43 (7-8) on page 501, DOI: 10.1080/00222930802267187, http://zenodo.org/record/521844
Erratum to: Effect of moderate red wine intake on cardiac prognosis after recent acute myocardial infarction of subjects with Type 2 diabetes mellitus (Diabetic Medicine, (2006), 23, 9, (974-981), 10.1111/j.1464-5491.2006.01886.x)
No full textIn an article by Marfella et al, the author name C. Saron is incorrect and should be listed as C. Sardu. Therefore the correct author list is: R. Marfella, F. Cacciapuoti, M. Siniscalchi, F. C. Sasso, F. Marchese, F. Cinone, E. Musacchio, M. A. Marfella, L. Ruggiero, G. Chiorazzo, D. Liberti, G. Chiorazzo, G. F. Nicoletti, C. Sardu, F. D'Andrea, C. Ammendola, M. Verza and L. Coppola.In an article by Marfella et al, the author name C. Saron is incorrect and should be listed as C. Sardu. Therefore the correct author list is: R. Marfella, F. Cacciapuoti, M. Siniscalchi, F. C. Sasso, F. Marchese, F. Cinone, E. Musacchio, M. A. Marfella, L. Ruggiero, G. Chiorazzo, D. Liberti, G. Chiorazzo, G. F. Nicoletti, C. Sardu, F. D'Andrea, C. Ammendola, M. Verza and L. Coppola
The later orchestral works of William Walton: a critical and analytical re-evaluation
No full textAlthough the British twentieth-century composer William Walton enJoys a continuing presence in the international canon, the body of scholarship that seriously engages with his life and work is small. The post-war music, which includes the Cello Concerto (1956), Second Symphony (1961), Variations on a Theme of Hindemith (1963), Improvisations on
an Impromptu of Benjamin Britten (1969), and the film score for Battle of Britain (1969), has been particularly underrepresented in critical and analytical writing. In this thesis, I give detailed analyses of these scores, alongside an investigation of the contemporary critical
climate and reception history of these works.
I argue that the series of significant lifestyle changes that Walton underwent in the years immediately following the Second World War - including exchanging the busy musical life of London and a series of affairs with high-profile figures for the 'dolce far niente' of an isolated Italian island and a stable marriage - are suggestive of a broad shift in the composer's social and cultural values with consequent changes in musical attitudes and compositional tendencies. Walton's later music is differentiated from the pre-war works by the presence of octatonic, twelve-note, hexatonic and other non-diatonic harmonic constructions in the foreground, and a change from teleological to network-based or rotational background structures. My analyses adopt a deliberately eclectic range of analytical strategies, combining aspects of set-class approaches alongside tools from the tonal tradition. This methodological pluralism reflects my argument that the vitality of these scores derives from a tension between modernist and traditional tendencies. I argue that
Walton appropriates a wide range of influences, including to some extent that of the European avant garde, in contradistinction to the assertion prominent in contemporary
reception literature that his music had stagnated into a single outmoded and rarefied style.
I conclude that although Walton's post-war music was indeed conservative in comparison to that of several of his younger contemporaries, his music engages, through opposition and assimilation, with many of the most characteristic trends of twentieth-century concert
music. Nevertheless, I argue that the temptation to label Walton as a 'modernist' should be avoided; his works should be judged on their own terms and not according to the
regressive--progressive axis prominent in much of the contemporary reception literature. These scores may not have been progressive, but they have a distinctive sound-world and an invigorating vitality that makes them exceptionally engaging both as works of art and
objects of study
Influence of graft size on graft survival following Descemet stripping automated endothelial keratoplasty
No full textPurpose To evaluate graft size on outcome following Descemet stripping automated endothelial keratoplasty (DSAEK) Methods Consecutive patients who had undergone a DSAEK for Fuchs endothelial dystrophy (FED) and pseudophakic bullous keratopathy (PBK) with at least 1 year of follow-up. Patients were divided into three groups according to the size of the donor trephine: <9, 9 and 9.5 mm. Main outcomes were postoperative best corrected visual acuity (BCVA) and graft failure. Grafts were prepared using an automated microkeratome. For larger grafts (≥9 mm), a manual dissection of the residual peripheral ring of anterior lamella was performed before trephination. Donor age, endothelial cell density (ECD) and postmortem times; recipient details including risk factors, comorbidity, surgical complications and postoperative BCVA and graft survival were analysed. Results Of 174 patients, 131 were included: 84 (64%) with FED and 47 (36%) with PBK. Mean preoperative and postoperative BCVA were 1.01±0.76 and 0.2±0.2 logM.AR, respectively, at 12 months with 80.5% achieving 20/40 or better. Postoperative BCVA was significantly associated with ECD (p=0.005), PBK or FED (p=0.004), risk factors (p=0.007) and comorbidity (p=0.016). Eleven patients (8.40%) experienced endothelial graft failure; 17.86% for <9 mm, 7.69% for 9 mm and 3.84% for 9.5 mm trephine sized grafts. Graft failure was significantly associated with ECD (p=0.039) and graft trephine size (p=0.04). Conclusions Larger grafts occupy a smaller chord length in the eye than the trephine size and are expected to provide 10%-20% more endothelial cells. Increased graft size and donor ECD is significantly associated with a reduced graft failure rate
Figure 5 in Can hair width and scale pattern and direction of dorsal scapular mammalian hair be a relatively simple means to identify species?
No full textFigure 5. Scanning electron micrographs of mammalian hair. Pallid bat underfur (A); Virginia opossum guard hair (B) and underfur (C); Merriam's shrew guard hair (D, E) and underfur (F).Published as part of Sessions, Britten D., Hess, Wilford M., Wesley, Skip & Skidmore, 2009, Can hair width and scale pattern and direction of dorsal scapular mammalian hair be a relatively simple means to identify species?, pp. 489-507 in Journal of Natural History 43 (7-8) on page 500, DOI: 10.1080/00222930802267187, http://zenodo.org/record/521844
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