120 research outputs found
Sonata. Descriptive of the Battle off Trafalgar.
No full textmultimovement work (1) The Sun Rising (Moderato); (2) The Fleet of Lord Nelson Cruizing Off Cadiz (Moderato; (3) Summons To Arms (Tempo di Marcia); (4) Signal going Up for the Enemys [sic] Fleet in Sight (Allegro con Spirito); (5) Sailors Carrying Up Their Hammocks (Allegretto); (6) Lord Nelsons [sic] Signal for every Englishman to do his duty (Pomposo); (7) The Battle (Allegro con Spirito); Engaging Yard Arm and Yard Arm; (8) Lord Nelsen shot (Adagio pianiss.); (9) Battle Continued (Allegro con Spirito); Sinking the Spanish Ship; Shouts of Victory (10) Rule Brittannia (Maestoso)pianoJohns Hopkins University, Levy Sheet Music Collection, Box
002, Item 006Composed by the Author of the Siege of Valencienne
Sonata. Descriptive of the Battle off Trafalgar.
No full textmultimovement work (1) The Sun Rising (Moderato); (2) The Fleet of Lord Nelson Cruizing Off Cadiz (Moderato; (3) Summons To Arms (Tempo di Marcia); (4) Signal going Up for the Enemys [sic] Fleet in Sight (Allegro con Spirito); (5) Sailors Carrying Up Their Hammocks (Allegretto); (6) Lord Nelsons [sic] Signal for every Englishman to do his duty (Pomposo); (7) The Battle (Allegro con Spirito); Engaging Yard Arm and Yard Arm; (8) Lord Nelsen shot (Adagio pianiss.); (9) Battle Continued (Allegro con Spirito); Sinking the Spanish Ship; Shouts of Victory (10) Rule Brittannia (Maestoso)pianoJohns Hopkins University, Levy Sheet Music Collection, Box
002, Item 006Composed by the Author of the Siege of Valencienne
''The World at Their Feet'': Logo-Iconic Representations of the Four Continents in the Celebrations of the Iberian Princes' Double Marriage (1729).
No full textAssinalando a aliança entre João V de Portugal
e Filipe V de Espanha, a troca das princesas,
em 1729, implicou um pomposo espetáculo solene, com o intuito de mostrar a força política
das duas coroas ibéricas através de grandiosas
festas. Comparando as fontes informativas sobre
as celebrações realizadas em Sevilha, Lisboa e
Bahia, pretende-se refletir sobre as funções dos
relatos impressos, analisando diferentes parâmetros tais como o autor, a tipologia textual e as características editoriais. Elegendo a representação logo-icónica dos quatro continentes como um dos motivos mais repetidos nos programas festivos de 1729, mostra-se como estes componentes expressam o aplauso universal aos casamentos ibéricos, colocando em diálogo as representações simbólicas do Velho e do Novo Mundo. Apresenta-se, asssim, um exemplo expressivo
da globalização artística e cultural do Barroco Iberoamericano.Strengthening the political alliance between John
V of Portugal and Philip V of Spain, the ceremony
of the exchange of the princesses in 1729 gave
rise to an impressive spectacle that demonstrated the power of the two Iberian kings, according to Baroque festival procedures. By comparing reports of the ceremonies held in Seville, Lisbon, and Bahia, this study proposes a reflection on the role played by printed festival accounts, taking different aspects into account including the author, textual typology, and editorial features. The logo-iconic representation
of the four continents is a meaningful motif, since it is displayed in all the iconographic programs of the ceremonies. Here we discuss how these elements express the universal acceptance of
the double Iberian marriage, suggesting a complex dialogue between the traditional allegories and the symbolic representations of the New and the Old Worlds. In this way, we outline a significant example of the artistic and cultural globalization of the Iberoamerican Baroque.Área de Historia del Arte, UPO.Postprin
Milano sempre grande : nel procurare la promozione de' suoi figli alla dignità di padre e di pastore, nell' ergere pomposo apparato a riceverli, nel mantenere vn filiale ossequio dopo riceuuti : circonstanze descritte nell' elezione, e nel solenne ingresso fatto in Milano dall' eminentissimo signor cardinale Federico Caccia suo arciuescouo, il giorno 11. di decembre 1696 /
No full textIncludes index.Signatures: A-R⁴.Plates engraved by "Scot." after designs by Giovanni Battista Quadra (i.e. Quadrio).Mode of access: Internet.Binding: 19th-century red bookcloth, backed in goatskin. Author, title & imprint on spine in gilt. Edges green
Un ritrovato dipinto di Ottavio Leoni a Montecitorio: il Ritratto di Paolo Giordano II Orsini in abito nero
No full textL'autore restituisce a Ottavio Leoni un ritratto conservato a Palazzo Montecitorio, in deposito dal 1925 dal Museo e Real Bosco di Capodimonte, già assegnato a una scuola olandese del XVII secolo. Inoltre, il personaggio viene identificato per la prima volta con Paolo Giordano II Orsini, duca di Bracciano, uno dei più famosi mecenati romani del periodo barocco. Questa importante acquisizione per il patrimonio storico-artistico dello Stato getta nuova luce su una tela la cui storia, anche la più remota, è stata ricostruita grazie a minuziose ricerche documentarie, individuandone il passaggio dall'antica famiglia baronale degli Orsini al cardinale Giovanni Angelo Braschi, poi papa Pio VI, fino all'acquisizione a Roma da parte del cavalier Domenico Venuti per le collezioni borboniche sotto il pomposo e camuffato nome di Van Dyck. L'aggiunta del ritratto al catalogo di Ottavio Leoni ha permesso anche di ripensare la sequenza delle effigi conosciute del Duca di Bracciano, proponendo di assegnare a Ippolito Leoni il disegno di Lille, Palais des Beaux-Arts, e il dipinto di Ajaccio, Musée Fesch, già assegnati alla mano del padre Ottavio.The author restores to Ottavio Leoni a portrait kept in Palazzo Montecitorio, on deposit since 1925 from the Museo e Real Bosco di Capodimonte, formerly assigned to a 17th-century Dutch school. Moreover, the sitter is identified for the first time with Paolo Giordano II Orsini, Duke of Bracciano, one of the most famous Roman patrons of the Baroque period. This important acquisition for the State’s historical and artistic heritage shed new light on a canvas whose history, even the most remote, has been reconstructed thanks to detailed documentary research, identifying its passage from the ancient baronial Orsini family to Cardinal Giovanni Angelo Braschi, later Pope Pius VI, until its acquisition in Rome by Cavalier Domenico Venuti for the Bourbon collections under the pompous and disguised name of Van Dyck. The addition of the portrait to Ottavio Leoni’s catalogue has also made it possible to rethink the sequence of the known effigies of the Duke of Bracciano, proposing to assign to Ippolito Leoni the drawing in Lille, Palais des Beaux-Arts, and the painting in Ajaccio, Musée Fesch, already assigned to the hand of his father, Ottavio
Health-related quality of life after traumatic brain injury: deriving value sets for the QOLIBRI-OS for Italy, The Netherlands and The United Kingdom
No full textPurpose The Quality of Life after Brain Injury overall scale (QOLIBRI-OS) measures health-related quality of life (HRQoL) after traumatic brain injury (TBI). The aim of this study was to derive value sets for the QOLIBRI-OS in three European countries, which will allow calculation of utility scores for TBI health states. Methods A QOLIBRI-OS value set was derived by using discrete choice experiments (DCEs) and visual analogue scales (VAS) in general population samples from the Netherlands, United Kingdom and Italy. A three-stage procedure was used: (1) A selection of health states, covering the entire spectrum of severity, was defined; (2) General population samples performed the health state valuation task using a web-based survey with three VAS questions and an at random selection of sixteen DCEs; (3) DCEs were analysed using a conditional logistic regression and were then anchored on the VAS data. Utility scores for QOLIBRI-OS health states were generated resulting in estimates for all potential health states. Results The questionnaire was completed by 13,623 respondents. The biggest weight increase for all attributes is seen from “slightly” to “not at all satisfied”, resulting in the largest impact on HRQoL. “Not at all satisfied with how brain is working” should receive the greatest weight in utility calculations in all three countries. Conclusion By transforming the QOLIBRI-OS into utility scores, we enabled the application in economic evaluations and in summary measures of population health, which may be used to inform decision-makers on the best interventions and strategies for TBI patients.The CENTER-TBI participants and investigators are: Cecilia Åkerlund, Hadie Adams, Krisztina Amrein, Nada Andelic, Lasse Andreassen, Audny Anke, Anna Antoni, Gérard Audibert, Philippe Azouvi, Maria Luisa Azzolini, Ronald Bartels, Pál Barzó, Romuald Beauvais, Ronny Beer, Bo-Michael Bellander, Antonio Belli, Habib Benali, Maurizio Berardino, Luigi Beretta, Morten Blaabjerg, Peter Bragge, Alexandra Brazinova, Vibeke Brinck, Joanne Brooker, Camilla Brorsson, Andras Buki, Monika Bullinger, Manuel Cabeleira, Alessio Caccioppola, Emiliana Calappi, Maria Rosa Calvi, Peter Cameron, Guillermo Carbayo Lozano, Marco Carbonara, Ana M. Castaño-León, Giorgio Chevallard, Arturo Chieregato, Giuseppe Citerio, Maryse Cnossen, Mark Coburn, Jonathan Coles, Jamie D. Cooper, Marta Correia, Amra Čović, Nicola Curry, Endre Czeiter, Marek Czosnyka, Claire Dahyot-Fizelier, Helen Dawes, Véronique De Keyser, Vincent Degos, Francesco Della Corte, Hugo den Boogert, Bart Depreitere, Đula Đilvesi, Abhishek Dixit, Emma Donoghue, Jens Dreier, Guy-Loup Dulière, Ari Ercole, Patrick Esser, Erzsébet Ezer, Martin Fabricius, Valery L. Feigin, Kelly Foks, Shirin Frisvold, Alex Furmanov, Pablo Gagliardo, Damien Galanaud, Dashiell Gantner, Guoyi Gao, Pradeep George, Alexandre Ghuysen, Lelde Giga, Ben Glocker, Jagoš Golubovic, Pedro A. Gomez, Johannes Gratz, Benjamin Gravesteijn, Francesca Grossi, Russell L.Gruen, Deepak Gupta, Juanita A. Haagsma, Iain Haitsma, Raimund Helbok, Eirik Helseth, Lindsay Horton, Jilske Huijben, Peter J. Hutchinson, Bram Jacobs, Stefan Jankowski, Mike Jarrett, Ji-yao Jiang, Kelly Jones, Mladen Karan–, Angelos G. Kolias, Erwin Kompanje, Daniel Kondziella, Lars-Owe Koskinen, Noémi Kovács, Alfonso Lagares, Linda Lanyon, Steven Laureys, Fiona Lecky, Rolf Lefering, Valerie Legrand, Aurelie Lejeune, Leon Levi, Roger Lightfoot, Hester Lingsma, Andrew I. R. Maas, Marc Maegele, Marek Majdan, Alex Manara, Geoffrey Manley, Costanza Martino, Hugues Maréchal, Julia Mattern, Charles McFadyen, Catherine McMahon, Béla Melegh, David Menon, Tomas Menovsky, Davide Mulazzi, Visakh Muraleedharan, Lynnette Murray, Nandesh Nair, Ancuta Negru, David Nelson, Virginia Newcombe, Daan Nieboer, Quentin Noirhomme, József Nyirádi, Otesile Olubukola, Matej Oresic, Fabrizio Ortolano, Aarno Palotie, Paul M. Parizel, Jean-François Payen, Natascha Perera, Vincent Perlbarg, Paolo Persona, Wilco Peul, Anna Piippo-Karjalainen, Matti Pirinen, Horia Ples, Suzanne Polinder, Inigo Pomposo, Jussi P. Posti, Louis Puybasset, Andreea Radoi, Arminas Ragauskas, Rahul Raj, Malinka Rambadagalla, Ruben Real, Jonathan Rhodes, Sylvia Richardson, Sophie Richter, Samuli Ripatti, Saulius Rocka, Cecilie Roe, Olav Roise, Jonathan Rosand, Jeffrey V. Rosenfeld, Christina Rosenlund, Guy Rosenthal, Rolf Rossaint, Sandra Rossi, Daniel Rueckert, Martin Rusnák, Juan Sahuquillo, Oliver Sakowitz, Renan Sanchez-Porras, Janos Sandor, Nadine Schäfer, Silke Schmidt, Herbert Schoechl, Guus Schoonman, Rico Frederik Schou, Elisabeth Schwendenwein, Charlie Sewalt, Toril Skandsen, Peter Smielewski, Abayomi Sorinola, Emmanuel Stamatakis, Simon Stanworth, Ana Stevanovic, Robert Stevens, William Stewart, Ewout W. Steyerberg, Nino Stocchetti, Nina Sundström, Anneliese Synnot, Riikka Takala, Viktória Tamás, Tomas Tamosuitis, Mark Steven Taylor, Braden Te Ao, Olli Tenovuo, Alice Theadom, Matt Thomas, Dick Tibboel, Marjolein Timmers, Christos Tolias, Tony Trapani, Cristina Maria Tudora, Peter Vajkoczy, Shirley Vallance, Egils Valeinis, Zoltán Vámos, Gregory Van der Steen, Joukje van der Naalt, Jeroen T. J. M. van Dijck, Thomas van Essen, Wim Van Hecke, Caroline van Heugten, Dominique Van Praag, Thijs Vande Vyvere, Audrey Vanhaudenhuyse, Roel P. J. van Wijk, Alessia Vargiolu, Emmanuel Vega, Kimberley Velt, Jan Verheyden, Paul M. Vespa, Anne Vik, Rimantas Vilcinis, Victor Volovici, Nicole von Steinbüchel, Daphne Voormolen, Petar Vulekovic, Kevin K. W. Wang, Eveline Wiegers, Guy Williams, Lindsay Wilson, Stefan Wolf, Zhihui Yang, Peter Ylén, Alexander Younsi, Frederik A. Zeiler, Veronika Zelinkova, Agate Ziverte & Tommaso Zoerl
Os sambas-exaltação e o épico de Ary Barroso
No full textThe importance of samba to Brazilian popular music due to its transformation into a national music. Therefore, the analysis of Brazilian popular song, the object of study of some authors shows the samba that emerged in the '30s as a major musical genre in the country, making it an integral part of the constitution of national identity. As presented in the introduction, several authors point Ary Barroso as one of the greatest composers of popular modern and is responsible for designing abroad samba-exaltation and marching, paving the way for the bossa nova. It also stands out, its multiple facets as sportscaster, writer, broadcaster, Alderman. This paper discusses the work of Ary Barroso, as a composer, particularly the samba-exaltation, a musical genre that has sophisticated features great feeling to Brazil. Accordingly, the objective of this study is to present an analysis of exaltation samba composer Ary Barroso, showing traces of epic account. The survey is also the conception of musical exaltation samba can be compatible with the style of modernism. As support for the study of the lyrics used the book Popular Song in Brazil, 2010 in Santuza Cambraia Naves and the same author, The Blue Guitar, 1998. Can observe features epic account of how the use of repeated words and adjectives vehement and direct speech. We emphasize other particulars as the presentation of the songs in pompous style, with the use of epithets majestic tones and the use of glorification of the folk elected as the epic. Arrangements grandiloquent, authentically national and aesthetics developed by Villa-Lobos in the early 30s shows that samba- exaltation reconciles it with the style of modernism.A importância do samba para a Música Popular Brasileira deve-se a sua transformação em música nacional. Portanto, a análise da canção popular brasileira, motivo de estudo de alguns autores mostra o samba, surgido nos anos 30, como principal gênero musical no país, tornando-se parte integrante da constituição da identidade nacional. Vários autores apontam Ary Barroso como um dos maiores compositores populares modernos, sendo ele o responsável por projetar no exterior o samba-exaltação e a marchinha, abrindo caminho para a bossa-nova. Destacam- se, também, as suas facetas múltiplas como locutor esportivo, redator, radialista, vereador. O presente trabalho aborda a obra de Ary Barroso, como compositor, particularmente, os sambas-exaltação, um gênero musical sofisticado e que apresenta características de grande sentimento ao Brasil. Nesse sentido, o objetivo geral deste estudo é apresentar uma análise dos sambas-exaltação do compositor Ary Barroso, mostrando traços de relato épico. Pesquisou-se, também, se a concepção musical dos sambas-exaltação pode ser compatível com o estilo do modernismo. Como suporte para o estudo das letras das músicas, utilizou-se o livro Canção popular no Brasil, de 2010, de Santuza Cambraia Naves, e O violão azul, escrito pela mesma autora, datado de 1998. Podem ser observadas características de relato épico como o uso de palavras repetidas, bem como de adjetivos veementes e do discurso direto. Ressaltam-se outras particularidades como a apresentação das músicas em estilo pomposo, com o uso de epítetos majestosos e o uso de tons de glorificação ao povo eleito como na epopéia. Os arranjos grandiloquentes, autenticamente nacionais como a estética desenvolvida por Villa- Lobos no início dos anos 30, mostram que o samba-exaltação concilia-o com o estilo do modernismo.PROQUALI (UFJF
Correction to:Frequency of fatigue and its changes in the first 6 months after traumatic brain injury: results from the CENTER-TBI study
No full textThe original version of this article unfortunately contained a mistake. The Collaborator name Joukje van der Naalt is incorrectly tagged. Therefore, author name is cited incorrectly in PubMed. The given name and family name should be as follows: Given name: Joukje. Family name: van der Naalt.</p
Quality indicators for patients with traumatic brain injury in European intensive care units: A CENTER-TBI study
No full textpeer reviewedBackground: The aim of this study is to validate a previously published consensus-based quality indicator set for the management of patients with traumatic brain injury (TBI) at intensive care units (ICUs) in Europe and to study its potential for quality measurement and improvement. Methods: Our analysis was based on 2006 adult patients admitted to 54 ICUs between 2014 and 2018, enrolled in the CENTER-TBI study. Indicator scores were calculated as percentage adherence for structure and process indicators and as event rates or median scores for outcome indicators. Feasibility was quantified by the completeness of the variables. Discriminability was determined by the between-centre variation, estimated with a random effect regression model adjusted for case-mix severity and quantified by the median odds ratio (MOR). Statistical uncertainty of outcome indicators was determined by the median number of events per centre, using a cut-off of 10. Results: A total of 26/42 indicators could be calculated from the CENTER-TBI database. Most quality indicators proved feasible to obtain with more than 70% completeness. Sub-optimal adherence was found for most quality indicators, ranging from 26 to 93% and 20 to 99% for structure and process indicators. Significant (p < 0.001) between-centre variation was found in seven process and five outcome indicators with MORs ranging from 1.51 to 4.14. Statistical uncertainty of outcome indicators was generally high; five out of seven had less than 10 events per centre. Conclusions: Overall, nine structures, five processes, but none of the outcome indicators showed potential for quality improvement purposes for TBI patients in the ICU. Future research should focus on implementation efforts and continuous reevaluation of quality indicators. Trial registration: The core study was registered with ClinicalTrials.gov, number NCT02210221, registered on August 06, 2014, with Resource Identification Portal (RRID: SCR_015582). © 2020 The Author(s)
Predictors of access to rehabilitation in the year following traumatic brain injury: A European prospective and multicenter study
No full textBackground. Although rehabilitation is beneficial for individuals with traumatic brain injury (TBI), a significant proportion of them do not receive adequate rehabilitation after acute care.
Objective. Therefore, the goal of this prospective and multicenter study was to investigate predictors of access to rehabilitation in the year following injury in patients with TBI.
Methods. Data from a large European study (CENTER-TBI), including TBIs of all severities between December 2014 and December 2017 were used (N = 4498 patients). Participants were dichotomized into those who had and those who did not have access to rehabilitation in the year following TBI. Potential predictors included sociodemographic factors, psychoactive substance use, preinjury medical history, injury-related factors, and factors related to medical care, complications, and discharge.
Results. In the year following traumatic injury, 31.4% of patients received rehabilitation services. Access to rehabilitation was positively and significantly predicted by female sex (odds ratio [OR] = 1.50), increased number of years of education completed (OR = 1.05), living in Northern (OR = 1.62; reference: Western Europe) or Southern Europe (OR = 1.74), lower prehospital Glasgow Coma Scale score (OR = 1.03), higher Injury Severity Score (OR = 1.01), intracranial (OR = 1.33) and extracranial (OR = 1.99) surgery, and extracranial complication (OR = 1.75). On contrast, significant negative predictors were lack of preinjury employment (OR = 0.80), living in Central and Eastern Europe (OR = 0.42), and admission to hospital ward (OR = 0.47; reference: admission to intensive care unit) or direct discharge from emergency room (OR = 0.24).
Conclusions. Based on these findings, there is an urgent need to implement national and international guidelines and strategies for access to rehabilitation after TBI
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