27 research outputs found
Arte e mestiere nella musica per il cinema
No full textRecensione del volume di Francesca Agresta: "Arte e mestiere nella musica per il cinema. Ritratto di un compositore: Carlo Savina", Roma, Fondazione Centro Sperimentale di Cinematografia, 2007
Intraperitoneal chemotherapy in the management of pancreatic adenocarcinoma: A systematic review and meta-analysis
No full textPancreatic cancer represents one of the leading causes of cancer-related death worldwide. Cytoreductive surgery (CRS) combined with hyperthermic intraperitoneal chemotherapy (HIPEC), normothermic intraperitoneal chemotherapy (NIPEC), and pressurized intraperitoneal aerosol chemotherapy (PIPAC) has been proven with curative intent mainly for other tumors and there is a lack of consensus regarding possible benefits also in pancreatic cancer. The present systematic review and meta-analysis aim to provide an up-to-date overview of the effectiveness and safety of intraperitoneal treatments in the management of pancreatic cancer
Collaboration and/as Bricolage: Petri, Pirro, Volonté and Morricone between Standard Practice and Authentication in the Aftermath of 1968
No full textThe chapter frames the collaboration between the film director Elio Petri, the screenwriter Ugo Pirro, the actor Gian Maria Volonté, and the composer Ennio Morricone in the light of bricolage as interpretive concept. The use of the concept has been triggered by Giorgio Biancorosso’s discussions in preparation of his forthcoming book. In the chapter, bricolage connects aspects of the production and realization of Petri’s film Investigation of a Citizen above Suspicion (1970) discussed by film scholar Claudio Bisoni to Morricone’s musical contribution to this film and to Petri’s subsequent one, Lulu the Tool (1971). The score explains less in terms of an autonomous work of art of the composer-author than of common film music practice plus cultural authentication in retrospect. Not only the unavoidable heteronomy of film music practice can be seen in the light of bricolage, but also the resort to self-borrowing within the domain of Morricone’s film music in a period in which his musical activity in this field reaches the peak of all his career: the purpose is to have the work quick done, with as little effort as possible, and to the director’s full satisfaction. The discourse of the ‘difference’ of Morricone’s practice for auteur cinema with respect to popular film genres, proposed by Sergio Miceli, proves undermined by the observation that Morricone resorts to similar compositional practice in the case of Petri’s political cinema – in terms of choice and use of timbres, creation and elaboration of motifs and themes, construction of musical meaning – and in popular genres as western Italian style and comedy film. His music is authenticated in retrospect by Petri’s films, aiming at intercepting popular culture at large to spread political messages to the widest possible audience. In turn, the success of his films depends less on the individual artistic contribution of Petri as author-director than on his capability of repackaging – again, a form of bricolage – the expectations of cinema audience in the aftermath of 1968. In the end, the films emerge historically from a collective and partly technological performance that is culturally situated in relation to transmedia processes, and the music is part of the play. Its role depends in great part on the role that is allowed and given to it by the circumstances, and on the emergent result, which is beyond the will of the authors and collaborators involved
Nuove Forme Sonore, 1970-1980: una pratica collettiva tra scrittura e improvvisazione
No full textNuove Forme Sonore è un gruppo di compositori, improvvisatori ed esecutori fondato a Roma da Giancarlo Schiaffini e Jesús Villa-Rojo alla fine del 1970, costituitosi in associazione nel 1973 e attivo fino al 2004. Nato come trio, divenuto presto un quintetto, nel corso degli anni Settanta l’ensemble si è dedicato alla ricerca e alla produzione di una "musica da camera nuova, autentica e soprattutto comunicativa" (Pecori 1974), una musica al confine tra generi e repertori diversi, tra scrittura e improvvisazione.
Obiettivo della ricerca è interrogare la storia e il fare musica di Nuove Forme Sonore tra il 1970 e il 1980, anno in cui il gruppo diventa un doppio quartetto diretto da Edgar Alandia. L'indagine si svolge principalmente mediante il metodo etnografico, per l’elaborazione di alcune interviste, e attraverso metodi analitici e filologici per lo studio di diverse fonti documentarie: programmi dei concerti, articoli di giornale, scritti curati dagli stessi musicisti del gruppo, documenti burocratici dell'associazione, partiture e registrazioni. Attraverso uno studio storico-analitico si intende descrivere l'esperienza, le musiche e le abitudini esecutive del quintetto di Nuove Forme Sonore, proponendo un'indagine mirata sul suo modo di organizzare, estemporaneamente e/o per mezzo della scrittura, il gesto collettivo, le dinamiche di relazione e la performance tout court. Delineato il contesto storico in cui il gruppo ha operato e ricostruita la storia del trio, prima, e del quintetto, subito dopo, si descrivono le fonti documentarie studiate e i metodi d'indagine scelti. Segue quindi l'analisi di diversi casi di studio: due improvvisazioni 'libere' (una delle due inedita), le esecuzioni di alcuni brani scritti in forma aperta (con e senza dedica a Nuove Forme Sonore), infine le scritture dei pezzi compositi da Schiaffini e Iannaccone a partire da e per i gesti dei musicisti del gruppo.
Tramite la ricerca si desidera portare un contributo nell'ambito degli studi sull’improvvisazione europea del secondo Novecento e aggiungere un tassello importante per la ricostruzione del contesto improvvisativo romano degli anni Settanta. L'indagine mira a mettere in luce da prospettive diverse, e attraverso l'esperienza ancora poco studiata di Nuove Forme Sonore, le tensioni sottese alla definizione dei concetti di 'improvvisazione' e 'composizione', al fine di portare un contributo al già acceso e complesso dibattito sul rapporto tra le due pratiche. Tramite la ricerca si desidera, infine, sottolineare l'importanza di studiare le storie e le pratiche degli esecutori, aspetti significativi di per sé e per uno studio più ampio del musicking, dei processi compositivi e delle prassi esecutive contemporanee.Nuove Forme Sonore is a group of composers, improvisers and performers founded in Rome by Giancarlo Schiaffini and Jesús Villa-Rojo at the end of 1970, formed as an association in 1973 and active until 2004. Born as a trio, which soon became a quintet, the ensemble dedicated itself to researching and producing "new, authentic and, above all, communicative chamber music" (Pecori 1974), music on the threshold between different genres and repertoires, between writing and improvisation.
The aim of the research is to interrogate the history and music-making of Nuove Forme Sonore between 1970 and 1980. The investigation is conducted primarily through the ethnographic method, for the elaboration of some interviews, and through analytical and philological methods for the study of various documentary sources: concert programs, newspaper articles, writings edited by the group's musicians themselves, bureaucratic documents of the association, scores and recordings. The objective of this historical-analytical study is to describe the experience, the music and the performance habits of the Nuove Forme Sonore quintet. In addition, it proposes a targeted investigation into the manner in which the collective gesture, the dynamics of relationships and the performance itself are organized, whether extemporaneously or through written notation. In the first part of the thesis, I analyze a number of documentary sources in order to present an overview of the historical context in which the group operated, and to reconstruct the history of the trio and the quintet. In the second part, then, I analyze several case studies: two ‘free’ improvisations (one of them unpublished), the performances of some pieces written in open form (with and without dedication to Nuove Forme Sonore), and finally the writing of the pieces composed by Schiaffini and Iannaccone from and for the gestures of the group's musicians.
With this research I would like to make a contribution to the field of studies on European improvisation in the second half of the 20th century and add an important piece to the reconstruction of the Roman improvisational context of the 1970s. The research aims to shed light on the tensions underlying the definition of the concepts of 'improvisation' and 'composition' from different perspectives and through the still little studied experience of Nuove Forme Sonore, in order to contribute to the already heated and complex debate on the relationship between these two practices. Finally, through this research I wish to highlight the importance of studying the history and practices of performers, which are important aspects in themselves and for a broader study of musicking, compositional processes and contemporary performance practices
Prophylactic mesh augmentation after laparotomy for elective and emergency surgery: meta-analysis
No full textBackground: Incisional hernia is a common short- and long-term complication of laparotomy and can lead to significant morbidity. The aim of this systematic review and meta-analysis is to provide an up-to-date overview of the laparotomy closure method in elective and emergency settings with the prophylactic mesh augmentation technique. Methods: The Scopus, PubMed, and Web of Science databases were screened without time restrictions up to 21 June 2022 using the keywords 'laparotomy closure', 'mesh', 'mesh positioning', and 'prophylactic mesh', and including medical subject headings terms. Only RCTs reporting the incidence of incisional hernia and other wound complications after elective or emergency midline laparotomy, where patients were treated with prophylactic mesh augmentation or without mesh positioning, were included. The primary endpoint was to explore the risk of incisional hernia at different follow-up time points. The secondary endpoint was the risk of wound complications. The risk of bias for individual studies was assessed according to the Revised Cochrane risk-of-bias tools for randomized trials. Results: Eighteen RCTs, including 2659 patients, were retrieved. A reduction in the risk of incisional hernia at every time point was highlighted in the prophylactic mesh augmentation group (1 year, risk ratio 0.31, P = 0.0011; 2 years, risk ratio 0.44, P < 0.0001; 3 years, risk ratio 0.38, P = 0.0026; 4 years, risk ratio 0.38, P = 0.0257). An increased risk of wound complications was highlighted for patients undergoing mesh augmentation, although this was not significant. Conclusions: Midline laparotomy closure with prophylactic mesh augmentation can be considered safe and effective in reducing the incidence of incisional hernia. Further trials are needed to identify the ideal type of mesh and technique for mesh positioning, but surgeons should consider prophylactic mesh augmentation to decrease incisional hernia rate, especially in high-risk patients for fascial dehiscence and even in emergency settings. Prospero registration id: CRD42022336242 (https://www.crd.york.ac.uk/prospero/record_email.php)
Intraoperative transcystic laparoscopic common bile duct stone clearance with SpyGlassTM discover during emergency and elective cholecystectomy: a single-center case series
No full textBackground and study aim
The development of a new cholangioscope, the SpyGlassTM Discover (Boston Scientific), has allowed the laparoscopic transcystic common bile duct exploration and stone clearance. The possibility of simultaneous treatment of choledocholithiasis during early laparoscopic cholecystectomy offers the opportunity to enormously reduce the time between acute cholecystitis diagnosis and the execution of cholecystectomy with better outcomes for patients. Furthermore, an altered anatomy of the gastrointestinal tract is not an obstacle to this technique. The aim of the study was to determine whether this new procedure is feasible, safe, and effective.
Patients and methods
The investigation employs a retrospective case series study including all consecutive patients with a diagnosis of common bile duct stones undergoing cholecystectomy and intraoperative laparoscopic common bile duct clearance using SpyGlassTM Discover at IRCCS Policlinico San Matteo in Pavia (Italy). Eighteen patients were included from May 2022 to May 2023.
Results
A complete clearance of the common bile duct was obtained in 88.9% of patients. The mean postoperative length of stay was 3 days. No major complications occurred. After a median follow-up of 8 months, no recurrence of biliary events or readmissions occurred.
Conclusion
This procedure has proven to be feasible, safe, and effective
TRANSMITTED DRUG RESISTANCE MUTATIONS AND TRENDS OF HIV-1 SUBTYPES IN TREATMENT-NAÏVE PATIENTS: A SINGLE CENTER EXPERIENCE
No full textTransmitted drug resistances (TDRs) and HIV-1 diversity could affect treatment efficacy and clinical outcomes. Here we describe the circulating viral subtypes and estimate the prevalence of resistance among drug naïve patients attending Sapienza University Hospital in Rome from 2006-2017
HIV-1 DIVERSITY AND ANTIRETROVIRAL RESISTANCE MUTATIONS AMONG TREATMENT NAÏVE PATIENTS FROM 2005-2017: A SINGLE CENTER EXPERIENCE
No full textBackground: Transmitted drug resistance (TDR) in antiretroviral (ART)-naïve patients remains a serious concern since it can reduce the efficacy of treatment and may affect clinical outcomes. The aim of this retrospective study is to describe circulating viral subtypes and evaluate the prevalence of TDR in drug naïve patients from Sapienza University Hospital.
Materials/methods: Genotypic resistance tests (GRT) of 668 ART-naïve patients attending Sapienza University Hospital, Rome, between 2005 and 2017 were analyzed. GRT were conducted in integrase (n= 52), protease and reverse transcriptase (RT) (n=668) sequences (Trugene® HIV-1 Genotyping Kit, Siemens; ViroSeqTM HIV-1 Genotyping System, Abbott).
Results: Most of patients were male (76.1%), of Italian origin (70.9%), with a median age of 38 years (IQR 31- 48 years); the median viral load was 4.7 log10 copies/mL (IQR 4.1-5.3) and the mean baseline CD4 cell count was 352 cells/mm3 (IQR 148-570). Phylogenetic analysis revealed the presence of 21 different subtypes and Circulating Recombinant Forms (CRFs). Subtype B was most common (67.1%), followed by CRF02_AG (8.4%), subtypes C and F (6%). A significantly increased overtime in the proportion of non-B strains (p<0.001) and in the rates of nonItalians patients (p<0.001) was found. Most individuals (92.7%) had no TDR mutations and were susceptible to all drugs. The overall prevalence of TDR was 9.4% [nucleoside reverse transcriptase
inhibitors (NRTIs)= 4.2%, non-nucleoside reverse transcriptase inhibitors (NNRTIs)= 5.8%, protease inhibitors (PIs)= 1.0%] and was higher in subtype B strains. The most common resistant mutations were K103N (1.9%) and T215D/S (1.5%) in RT region and M46I (0.4%) in protease. Among integrase resistance mutations,7 individuals had a minor or accessory mutation and 2 showed
major mutations. Among the minor mutations, T97A and G140S were detected in 3 and 2 patients respectively; E138K occurred in 1 individual. Interestingly, 2 patients harbored the major Q148H and the minor G140S mutation and share also the reverse transcriptase mutations (E138G, T215S, H221Y, M230L). These individuals were a couple, both active drug users and in acute phase of infection. Phylogenetic analysis confirmed that these patients harboring the same virus. No significant decrease of TDR was documented overtime.
Conclusions: TDR rate observed in our population is in agreement with the average rate in Europe. The lack of a significant reduction of TDR underlines the importance of a continuous surveillance of resistance mutations. These data on INSTI mutations reinforce the recommendations to perform INSTI GRT before commencing treatment, especially in those presenting resistance to other classes of drugs and in difficult population like active drug users. Moreover, the significant increase of non-B viruses suggests the importance to monitor dynamics of HIV transmission, since this may have important clinical and diagnostic implication
Intraoperative transcystic laparoscopic common bile duct stone clearance with SpyGlassTM discover during emergency and elective cholecystectomy: a single-center case series
No full textBackground and study aim: The development of a new cholangioscope, the SpyGlass Discover (Boston Scientific), has allowed the laparoscopic trans-cystic common bile duct exploration and stone clearance. The possibility of simultaneous treatment of choledocholithiasis during early laparoscopic cholecystectomy offers the opportunity to enormously reduce the time between acute cholecystitis diagnosis and the execution of cholecystectomy with better outcomes for patients. Furthermore, an altered anatomy of the gastrointestinal tract is not an obstacle to this technique. The goal of the study was to determine whether this new procedure is feasible, safe, and effective
Gli archivi della musica cinematografica in Italia: uno strumento indispensabile per la ricerca, la prassi esecutiva e la divulgazione
No full textThis article examines some of the issues inherent in the film music archive type, in particular those that the author was able to visit in Italy during his research activity. He describes the peculiarities of such archives and the diversity of materials they contain, highlighting the attitude that a researcher must adopt when studying film music and disseminating it correctly, as well as the precautions a performer must take when accompanying a silent film. The article also contains some proposals to create a network of film music archives, in order to facilitate the work of reconstructing the complex links between those materials that later become part of a soundtrack, such as scores, sound recordings, notes, and film scripts.L’articolo prende in esame alcune problematiche inerenti la tipologia degli archivi della musica per film facendo riferimento, in particolar modo, a quelli presenti nel contesto italiano che l’autore ha potuto frequentare nel corso della propria attività di ricerca. Descrive le caratteristiche di simili archivi e l’eterogeneità dei materiali presenti al loro interno, evidenziando l’atteggiamento che un ricercatore deve assumere quando si trova a studiare la musica per film e a divulgarla adeguatamente, e le precauzioni che un interprete deve adottare quando si trova ad accompagnare una pellicola del cinema muto. Sono inoltre presenti alcune proposte per creare una rete fra gli archivi musicali cinematografici al fine di facilitare il lavoro di ricostruzione dei complessi legami esistenti fra i materiali che entrano a far parte di una colonna sonora, come le partiture, le registrazioni audio, gli appunti, le sceneggiature filmiche
