9,846 research outputs found
Diesis
No full textThis work is an exploration of microtonal commas (a minute interval) of which a diesis, a diminished second, gives this piece its title. Historically when tuning a scale, rather than divide an octave into equal parts (as used today with equal temperament) early tuning systems would tune notes using a sequence of pure intervals, which are slightly different in size to the equal tempered intervals we use today. These discreet differences in pitch would result with an undesirable and perceptually dissonant imperfect octave, the interval of this imperfection being a comma. Diesis is therefore a response to the dissonant qualities that made a comma undesirable: namely its complex timbre and pulsing beating tones (which result when two notes very close in pitch are played together)
MacLeod, Colin M.
No full textColin MacLeod, circa 1940s
Colin Munro MacLeod (1909 – 1972) was a Canadian-American geneticist. He was one of a trio of scientists who discovered that deoxyribonucleic acid or DNA is responsible for the transformation of the physical characteristics of bacteria, which subsequently led to its identification as the molecule responsible for heredity.
Colin MacLeod earned his MD from McGill University (1934). The next year he joined Oswald Avery\u27s laboratory at the Rockefeller Institute. In 1941 MacLeod became chairman of the Department of Microbiology at the New York University School of Medicine.
See also DNA: The Transforming Principle and the Birth of Modern Genetics and The First Effective Vaccine for Pneumococcal Pneumoniahttps://digitalcommons.rockefeller.edu/scientific-staff/1012/thumbnail.jp
George MacLeod’s open-air preaching: performance and counter-performance
No full textStuart Blythe uses the methodology of performance to analyse George MacLeod’s open-air preaching. He points out that MacLeod’s preaching was derived from a theology of the incarnation, and an understanding of the paradoxes and dichotomies of common human life. This preaching, Blythe suggests, was also a counter-performance in the context of outlooks and ideologies inimical to the gospel. The paper raises interesting issues related to preaching as performance, and the further question as to whether or not the life and work of the Church as a whole might now be better understood as a counter-performance.Publisher PD
[Colin Munro MacLeod (AAI)]
No full textColin Munro MacLeod, 1951-1952Handwritten from verso: Colin MacLeod 1956. Stamp from verso: New York University School of Medicine Archives. Title supplied by cataloger.Portrait of Colin M. MacLeod, AAI President 1951-195
M. D. Macleod, Luciani opera. Tomus III : Libelli 44-68
No full textSchwartz Jacques. M. D. Macleod, Luciani opera. Tomus III : Libelli 44-68. In: L'antiquité classique, Tome 52, 1983. p. 340
M. D. Macleod, Luciani opera. Tomus III : Libelli 44-68
No full textSchwartz Jacques. M. D. Macleod, Luciani opera. Tomus III : Libelli 44-68. In: L'antiquité classique, Tome 52, 1983. p. 340
Not losing the plot: Ken MacLeod and Iain M. Banks.
No full textThis essay appears in the first book to be devoted to the work of Ken MacLeod. It compares the science fiction of MacLeod and Iain M. Banks, who are both deemed to write political novels, yet produce very different results, to judge by Banks's Culture novels and MacLeod's Fall Revolution Quartet. The essay establishes the terms of its comparison by examining the theories of Hobbes and Arendt regarding the possibility of political action - a possibility more evident in MacLeod than in Banks. MacLeod's novels are shown to test the possibilities of action and political agency
M. D. Macleod, Luciani opera. Tomus I : Libelli 1-25
No full textSchwartz Jacques. M. D. Macleod, Luciani opera. Tomus I : Libelli 1-25. In: L'antiquité classique, Tome 42, fasc. 1, 1973. p. 247
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