90 research outputs found
Bilateral organization of the vocal control pathway in the budgerigar, Melopsittacus undulatus
No full textAnatomical and electrophysiological methods were used to map the vocal control nuclei of the budgerigar, Melopsittacus undulatus. Beginning with the motor nucleus of the syrinx, nuclei were located using antidromic stimulation and then injected with horseradish peroxidase (HRP). Retrogradely transported HRP labeled afferents to the injected nucleus. This procedure was repeated at successively higher levels along the vocal pathway. Connections found using this strategy then were confirmed using anterograde transport of HRP and/or tritiated proline and orthodromic electrical stimulation. We found that the primary vocal control pathway consisted of (1) the motor nucleus innervating the trachea and syrinx, nXIIts; (2) an archistriatal nucleus, RA; and (3) a neostriatal nucleus, “HVc.” These nuclei correspond to similar, possibly homologous, nuclei in the vocal control pathway of the canary (Nottebohm, F., T. M. Stokes, and C. M. Leonard (1976) J. Comp. Neurol. 165: 457–486) but, because of differences in gross brain morphology, are displaced considerably in absolute position. Furthermore, the projection from RA to the motor nucleus is bilateral in the budgerigar, whereas the same connection is strictly ipsilateral in the canary. The projection of the motor nucleus to muscles of the vocal organ is also bilateral in the budgerigar (Manogue, K. R., and F. Nottebohm (1981) J. Compl. Neurol., in press) but ipsilateral in the canary. the possible significance of these species differences for lateralization of motor control is discussed.</jats:p
Chronik der Königlichen Gewerbe-Akademie zu Berlin
No full textCHRONIK DER KÖNIGLICHEN GEWERBE-AKADEMIE ZU BERLIN
Chronik der Königlichen Gewerbe-Akademie zu Berlin / Nottebohm, Friedrich Wilhelm (Public Domain) ( - )
Title page ( - )
Preface ( - )
Erste Periode. 1821 - 1845 (1)
Zweite Periode. 1845 - 1857 ([23])
Dritte Periode. 1857 - 1871 ([35])
Chronik des Grundstückes der Königlichen Gewerbe-Akademie ([53])
Schlusswort ([61])
Anlage A. An des Königs Majestät ([63])
Anlage B ([65])
Anlage C. An des Königs Majestät ([66])
Anlage D ([68])
Anlage E. Zusammenstellung der Directoren, Lehrer und Privat-Docenten der Königlichen Gewerbe-Akademie von der Gründung der Anstalt am 1. November 1821 bis dahin 1871 ([69])
Anlage F. Nachweisung der Frequenz der Königlichen Gewerbe-Akademie von der Gründung der Anstalt im Jahr 1821 bis 1871 ([79])
Imprint (83)
Anlage G. Frequenz-Skala der Königlichen Gewerbe-Akademie 1821 bis 1871 ( -
Modification of synapses in androgen-sensitive muscle. I. Hormonal regulation of acetylcholine receptor number in the songbird syrinx
No full textThe songbird syrinx is sexually dimorphic and responds to changes in blood testosterone levels with changes in muscle size and in activity of cholinergic enzymes (Luine, V., F. Nottebohm, C. Harding, and B.S. McEwen (1980) Brain Res. 192: 89–107). Here, we demonstrate that there is a sex difference in the number of acetylcholine receptors (AChRs) in the syrinx and that alterations in the levels of circulating testosterone can cause changes in AChR number in syringeal muscles. These results suggest that the size or number of endplates in the syringeal muscles may be increased by circulating testosterone. The time course of these effects was examined after increases in blood testosterone in females and decreases in males. We also examined the effect of increased testosterone in syrinx isolated from neural influences by denervation and found that denervated muscle responded to testosterone with an increase in acetylcholinesterase activity but not with increases in protein content or AChR number.</jats:p
Mapping of radial glia and of a new cell type in adult canary brain
No full textFrontal and coronal sections of adult male and female canary brain were stained with a monoclonal antibody to vimentin using an immunoperoxidase technique; some sections were counterstained with cresyl violet. The position of radial glia cells was mapped using a computer-linked microscope. The telencephalon was found to have a rich set of radial glia. The long processes of these radial glia showed a mediolateral orientation, and were much more abundant in some parts of the telencephalon (e.g., hyperstriatum, caudal neostriatum, and lobus parolfactorius) than in others (e.g., anterior neostriatum, archistriatum, and septum), which had few or no radial glia fibers. A small, elongated cell type not previously described in adult avian brain was frequently seen to be associated with the long processes of the radial glia, oriented in the same direction and often in close apposition. The position of these cells was also systematically mapped, and they were found to be virtually absent outside of the telencephalon. The relation between radial glia fibers and the small, elongated cells was most commonly seen close to the lateral ventricle of the forebrain, where the radial glia cells have their cell bodies. The above observations suggest that there may be a functional relation between radial glia and the small, elongated cells. We hypothesize that the latter cells are young migrating neurons. This hypothesis is tested in a separate publication (A. Alvarez-Buylla and F. Nottebohm, unpublished observations).</jats:p
Direct evidence for loss and replacement of projection neurons in adult canary brain
No full textNormally occurring projection neuron loss and replacement were quantified over a 6 month period in the pathway from the high vocal center (HVC) to the robust nucleus of the archistriatum (RA) in adult male canaries. Fluorescent latex microspheres were injected into RA in April--a procedure resulting in long-term retrograde labeling of RA- projecting HVC neurons. Labeled cell densities were then obtained 4 and 20 d later in April and 195 d later in October. We found that 41–49% of the RA-projecting HVC neurons present the previous April were no longer present in October. Fluorogold injections in RA 3 d prior to death in April and October retrogradely labeled similar overall densities of RA- projecting HVC neurons, indicating that cells lost over this 6 month period were replaced by new RA-projecting HVC neurons. Newer cells were larger than older cells, suggesting that an age-dependent reduction in size might precede death. Over the same time interval, no loss was observed for neurons projecting from the lateral magnocellular nucleus of the anterior neostriatum to RA. Thus, loss was specific to the input from HVC to RA. These findings raise the possibility that much if not all of the pathway from HVC to RA is replaced within a year. The time period examined encompasses the yearly transition from stable song to song learning in the canary (Nottebohm et al., 1986, 1987). A pronounced loss and replacement of neurons implicated in vocal control during this period may relate to the canary's ability to modify song in adulthood.</jats:p
"The allure of Beethoven's ""Terzen-Ketten"": third-chains in studies by Nottebohm and music by Brahms"
No full textMy primary argument concerns Brahms’s use of a specific musical resource: chains of thirds or “Terzen-Ketten” as this device is sometimes described in the original sources. Brahms used third-chains in various ways as a motivic and harmonic technique. Some of his earlier works, such as the Piano Sonata in C major, op. 1, and the Piano Concerto in D minor, op. 15, already show the use of such chains of thirds as a prominent feature. However, Brahms’s treatment of such “Terzen-Ketten” in his later works shows an especially impressive inventiveness and importance. The ways the chains of thirds are treated often lend to these works a character of intense concentration and melancholy, culminating in the setting of “O Tod,” the third of the Vier Ernste Gesänge, op. 121.
I argue that Brahms’s sustained preoccupation with chains of thirds after 1862 was connected to his friendship with the pioneer Beethoven scholar Gustav Nottebohm who facilitated the composer’s access to Beethoven’s sketch materials for the “Hammerklavier Sonata” op. 106. Through Nottebohm, some of Beethoven’s sketches for op. 106 passed into Brahms’s personal collection of musical sources. It is remarkable that Brahms also acquired the autograph score of Mozart's G minor Symphony and the corrected copy of Beethoven's Missa Solemnis, op. 123—two other celebrated works which make prominent use of chains of falling thirds.
Gustav Nottebohm’s transcriptions of Beethoven’s sketches represented a major contribution to musicology in the late nineteenth century. Some of these transcriptions appeared with his commentary in issues of the Allgemeine Musikalisches Zeitung and the Musikalisches Wochenblatt in the 1860s and 70s; other studies were published as short monographs. As the surviving sources show, Brahms took an interest in these transcriptions and helped arrange for their publication. Brahms and Nottebohm socialized often and shared a strong interest in Beethoven’s creative process. An original sketchbook for parts of Beethoven’s “Hammerklavier” Sonata op. 106 containing a prolonged “Zirkel-Ketten” (or circle-chain) of descending thirds became one of the prized treasures of the composer’s collection. Brahms’s fascination with such descending third-chains is evident in many of his late works, and his use of this device in the Fourth Symphony bears close comparison with Beethoven’s “Hammerklavier” Sonata.
My dissertation presents new findings on Beethoven’s use of “Zirkel-Ketten” drawn from Nottebohm’s posthumous papers (Nachlass) at the Gesellshaft der Musikfreunde in Vienna as well as previously unpublished correspondence between Nottebohm and Brahms. This material provides support for my argument that Nottebohm played a key role in enabling the composer’s study of Beethoven’s sketch materials, which was bound up in turn with the composer’s intensive exploration of “Terzen-Ketten” and their subsequent incorporation and development in his later compositions.
The second part of my dissertation offers analytical investigation of third-chains in the late works of Brahms. Following an examination of descending third-chains in Beethoven’s “Hammerklavier” Sonata, op. 106 and Brahms’s Fourth Symphony, op. 98—two works frequently cited for their pervasive use of this device—I discuss selected examples from the later instrumental and vocal works of Brahms, some of which have received much less attention in the literature. Descending third-chains are used poignantly in texted works like “Feldeinsamkeit,” op. 86 no. 2, and the Vier Ernste Gesänge, op. 121, especially “O Tod, wie bitter bist du,” no. 3. An even more elaborate treatment of chains of falling thirds—or their inversion as rising sixths—occurs in instrumental works including the piano Fantasien, op. 116, the Klavierstücke, op. 118 and 119 and the Clarinet Sonata in F minor, op. 120 no. 1. In op. 116 the use of such “Terzen-Ketten” contributes importantly to the integration of the seven pieces, which can be heard as a larger work or cycle, despite the powerful contrasts between the successive pieces. Brahms’s lifelong preoccupation with chains of thirds reaches a remarkable climax in this cluster of works from his final years.Item withdrawn by Mark Zulauf ([email protected]) on 2011-07-13T16:44:36Z
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[Esquisses pour l'Ouverture op. 115] (manuscrit autographe) / Ludwig van Beethoven]
No full textTitre uniforme : Beethoven, Ludwig van (1770-1827). Compositeur. [Ouvertures. Op. 115. Do majeur]. EsquisseEsquisses à 3/4, en sol majeur et mi bémol majeur, proches de celles reproduites par Gustav Nottebohm, "Zweite Beethoveniana", Leipzig : C. F. Peters, 1887, p. 16-17, datées de 1811 au plus tard. - Esquisses à l'encre. - Datation d'après Unger : après 1801. - F. 1 r° inutilisé. - Papier réglé à 12 portées de 9 x 184 mm par page (intervalle entre les portées : 13 mm
Geschichte der Musik /
No full textThe work was never completed; after the author's death, v.4 was edited from the manuscript by G. Nottebohm and C. F. Becker. A continuation, by W. Langhans, appeared in 1882-87 under title: Die Geschichte der Musik des 17., 18. und 19. Jahrhunderts.Vol. 5 has also special title page.1. Bd. Die Anfänge der Tonkunst. Die Musik der Antiken Welt. 2. unveränderte Aufl. 1880.--Bd.2. Die Anfänge der europäisch-abendländischen Musik. Die Entwickelung des geregelten mehrstimmigen Gesanges. 2. verb. Aufl. 1880.--3. Bd. Die Zeit der Niederländer. Die Musik in Deutschland und England. Die italienische Musik des 15. Jahrhunderts. 2. verb. Aufl. 1881.--4. Bd. Fragment: Palestrina. Die Zeit des Palestrinastyles. Der monodische Styl in Rom. Die Musikreform und der Kampf gegen den Contrapunkt. Die Zeit des Ueberganges. Die Zeit der ersten dramatischen Musikwerke. Claudio di Monteverde. Theoretiker und Lehrer. Die italienischen Organisten. Nachwort von E. Schelle. 2. verb. Aufl. 1881.--5. Bd. Auserwählte Tonwerke der berühmtesten Meister des 15. und 16. Jahrhunderts. Eine Beispielsammlung zu dem dritten Bande der Musikgeschichte von A. W. Ambros nach dessen unvollendet hinterlassenem Notenmaterial mit zahlreichen Vermehrungen, hrsg. von O. Kade. 3. unveränderte Aufl. 1911.Mode of access: Internet
Motor-driven gene expression.
No full textThere is increased neuronal firing in the high vocal center (a motor nucleus) and other song nuclei of canaries, Serinus canaria, and zebra finches, Taeniopygia guttata, whenever these songbirds sing or hear song. These observations suggested that song perception involved sensory and motor pathways. We now show that the act of singing, but not hearing song, induces a rapid and striking increase (up to 60-fold) in expression of the transcriptional regulator ZENK in the high vocal center and other song nuclei. This motor-driven gene expression is independent of auditory feedback, since it occurs in deafened birds when they sing and in muted birds when they produce silent song. Conversely, hearing song, but not the act of singing, induces ZENK expression in parts of the auditory forebrain. Our observations show that even though the same auditory stimulus activates sensory and motor pathways, perception and production of song are accompanied by anatomically distinct patterns of gene expression
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