45 research outputs found
Johann Joachim Quantz y su aportación a la cultura musical del siglo XVIII
No full textJohann Joachim Quantz (1697-1773) es el autor del Versuch einer Anweisung zu die Flöte traversiere zu spielen (Ensayos de un método para tocar la flauta travesera), publicado en Berlín en 1752. Además de tratarse del primer compendio exhaustivo sobre la flauta travesera, el libro aborda problemáticas generales ligadas a la composición, los estilos, la profesión del músico, la expresión y la apreciación musical, y ofrece una amplia panorámica del gusto musical de su tiempo.
Tras la difusión en la década de 1960 de la traducción inglesa de E. R. Reilly, el Versuch se ha convertido en una de las obras de referencia ineludibles en la praxis interpretativa de la música barroca. Sin embargo, su notoriedad contrasta con el relativo desconocimiento de la vida de su autor.
Quantz fue uno de los virtuosos alemanes más famosos de su tiempo. Prolífico compositor, escribió más de 700 obras, casi todas para la flauta, hoy todavía poco conocidas. También aportó importantes innovaciones al diseño del instrumento. Su fama ha estado tradicionalmente ligada a los últimos treinta años de su vida, que transcurrió como maestro de flauta privado de Federico II de Prusia. En su juventud, había adquirido una notable competencia en varios instrumentos, como el oboe y el violín. Esto le permitió desarrollar una brillante carrera en la corte sajona de Dresde, como flautista de su célebre orquesta. En sus viajes por los principales centros musicales europeos, conoció a celebridades como Gasparini, Scarlatti, Hasse, Farinelli, Blavet y Haendel. El testimonio de esta etapa de su vida está recogido en su breve autobiografía de 1754, documento que también contiene unas claves muy valiosas para la correcta comprensión del tratado.
Esta tesis investiga en profundidad los nexos existentes entre el Versuch y la biografía de Quantz, con el fin de perfeccionar su comprensión e identificar sus campos de aplicación más apropiados. Además, constituye la primera y única base de conocimiento existente en lengua castellana sobre el argumento.
La primera parte de la tesis contiene una reconstrucción crítica de la biografía de Quantz, elaborada a partir de la autobiografía, y ampliada con fuentes coevas. La segunda recoge un análisis detallado del Versuch, de sus antecedentes, su difusión y de las temáticas que aborda. La tercera parte presenta una versión crítica en lengua castellana del Versuch, plasmada en estrecha conexión con los resultados de la reconstrucción biográfica y de la investigación.
El estudio desentraña la relación de Quantz con su entorno cultural y artístico, explora las etapas de su formación temprana, su recepción de la ópera y de la música instrumental italiana, y evalúa la relevancia del violín y del canto en las ideas expresadas en el Versuch. Redimensionando la tradicional asociación al ambiente prusiano, la investigación destaca la importancia de la experiencia madurada en Dresde. Con el fin de individuar el lugar de Quantz en el debate musical de su tiempo, la tesis detalla su aportación a temas como la difusión del “estilo mixto” (fusión de estilo francés y estilo italiano), el desarrollo de la flauta, la articulación del concepto de “buena ejecución” y la evolución del gusto musical en Alemania. Las ideas de Quantz sobre el “cantábile” y la ornamentación, su postura moderada sobre la emancipación de la música instrumental del canto, y la creciente importancia del papel de la invención en la creación musical sobre el de la representación retórica de las “pasiones”, ponen de relieve su papel de bisagra entre dos épocas de la evolución del gusto musical.
Johann Joachim Quantz (1697-1773) is the author of the Versuch einer Anweisung die Flöte traversiere zu spielen (Essay of a method on playing the flute), published in 1752 in Berlin. Besides being the first comprehensive summary about the flute, this book covers several issues related to composition, style, profession, expression and musical appreciation, and shows a broad panorama on contemporary musical taste. Thanks to the publication en 1960 decade of the first modern English translation by E. R. Reilly, the Versuch is today considered an unavoidable authority for the interpretation of Baroque music. Nevertheless, his notoriety contrasts with the quite lowly awareness about the life of its author.
Quantz was one of the most famous virtuosi of his time in Germany. A prolific composer, he wrote more than 700 works, mostly for flute, still little known today. He also brought important innovations to the design of the instrument. His fame has been traditionally linked to the last thirty years of his life, which he spent as a private flute teacher of Frederick II of Prussia. Being young, Quantz acquired substantial proficiency on many instruments, like oboe and violin. This gave him access to a bright career in the Saxon court in Dresden, as a flutist in its celebrated orchestra. He visited the main European musical centres, and met celebrities like Gasparini, Scarlatti, Hasse, Farinelli, Blavet and Handel. This stage of his life is described in his short 1754 autobiography, which provides us with valuable keys to accurate insight of the treatise.
This thesis deeply investigates the links between the Versuch and Quantz biography, in order to enhance its comprehension and to identify the most appropriate application fields. In addition, this research sets up the first comprehensive knowledge base in Spanish language about this matter.
The first part of the thesis consists of a critical reconstruction of Quantz’s biography, based upon the autobiography and contemporary sources. The second part gathers a detailed analysis of the Versuch, deepening in antecedents, dissemination and matters addressed. The third part introduces a critical version in Spanish of the Versuch, in close connection with the biographic reconstruction and research findings.
This research disentangles the relation between Quantz and his cultural and artistic environment, explores the stages of his early education, his reception of the opera and Italian instrumental music, and assesses the role of the violin and singing in the ideas found in the Versuch. Through resizing the traditional association to Prussian environment, the thesis highlights the importance of his professional experience in Dresden. In order to precise Quantz’s place in contemporary musical debate, the thesis details his contribution to matters like the diffusion of “mixed style” (synthesis of French and Italian styles), the development of the flute, the growth of the “good execution” conception and of the German musical taste. Quantz’s ideas about the “cantabile” and the ornamentation, his moderate position in the instrumental music emancipation from singing, and the growing importance of the invention in musical creation against the rhetoric representation of “passions”, underline his role of hinge between two stages in musical taste evolution
The good taste in the performance after Johann Joachim Quantz\' \"Essay on an instruction for playing the transverse flute\"
No full textJohann Joachim Quantz (1697-1773) é o autor de um dos mais importantes tratados sobre a música no século XVIII. A extensa obra \"Ensaio sobre como tocar a flauta transversal\", de 1752, está entre as principais referências sobre a prática musical deste período. Ao expor as técnicas necessárias para se chegar ao bom gosto na prática musical, esta obra descreve com clareza como executar a música adequadamente. Segundo o autor, deve-se executar a música com bom gosto, pois somente desta maneira é que se consegue cativar o coração do ouvinte, e, por fim, mover os seus sentimentos. Nota-se nestas referências uma profunda conexão com as preceptivas da Retórica Clássica, de forma adaptada à música. Para esclarecer este assunto, a presente pesquisa apresenta dois principais objetos: a investigação do bom gosto na música prática, de acordo com Quantz e segundo as preceptivas da Retórica Musical; e a tradução, com comentários, de cinco capítulos do seu famoso tratado de flauta. Nestes capítulos selecionados, 11 ao 15, encontram-se as principais referências e os exemplos mais claros sobre o bom gosto na execução musical em geral. Esta criteriosa tradução se baseou, exclusivamente, no texto original em alemão, tendo sido fundamentada nas teorias dos estudos da Tradução, contando ainda com a edição e elaboração dos exemplos musicais nela utilizados. Pode-se usar esta pesquisa, a tradução e os exemplos musicais, portanto, como um preciso referencial sobre o bom gosto na execução musical, sendo útil a todos que se dedicam a prática e aos estudos da música setecentista.Johann Joachim Quantz (1697-1773) is the author of one of the most important treatises on music in the eighteenth century. The comprehensive work \"Essay on an instruction for playing the transverse flute\" from 1752 is among the main references on the musical practice of this period. By exposing the techniques necessary to achieve good taste in music practice, this work clearly describes how to perform music properly. According to the author, the music should be performed with good taste, because only in this way is it possible to captivate the listener\'s heart and, finally, move their feelings. These references show a deep connection with the precepts of Classical Rhetoric, adapted to the music. To make it clear, this research presents two main objectives: the investigation of good taste in practical music, according to Quantz and to the precepts of Musical Rhetoric; and the commented translation of five chapters of his famous flute treatise to Portuguese. In these selected chapters, 11 to 15, you will find the main references and clearer examples of good taste in musical performance in general. This careful translation was based on the theories of translation studies and used, exclusively, the original German text. It counts as well with the editing and elaboration of the musical examples used in it. The research, translation and the musical examples can be used, therefore, as a precise reference about on good taste in musical performance, being useful to all who dedicate themselves to the practice and studies of eighteenth-century music
Rat liver and intestinal mucosa differ in the developmental pattern and hormonal regulation of carbamoyl-phosphate synthetase I and ornithine carbamoyl transferase gene expression
No full textMethylprednisolone in patients undergoing cardiopulmonary bypass (SIRS): A randomised, double-blind, placebo-controlled trial
No full textBackground Cardiopulmonary bypass initiates a systemic inflammatory response syndrome that is associated with postoperative morbidity and mortality. Steroids suppress inflammatory responses and might improve outcomes in patients at high risk of morbidity and mortality undergoing cardiopulmonary bypass. We aimed to assess the effects of steroids in patients at high risk of morbidity and mortality undergoing cardiopulmonary bypass.
Methods The Steroids In caRdiac Surgery (SIRS) study is a double-blind, randomised, controlled trial. We used a central computerised phone or interactive web system to randomly assign (1: 1) patients at high risk of morbidity and mortality from 80 hospital or cardiac surgery centres in 18 countries undergoing cardiac surgery with the use of cardiopulmonary bypass to receive either methylprednisolone (250 mg at anaesthetic induction and 250 mg at initiation of cardiopulmonary bypass) or placebo. Patients were assigned with block randomisation with random block sizes of 2, 4, or 6 and stratified by centre. Patients aged 18 years or older were eligible if they had a European System for Cardiac Operative Risk Evaluation of at least 6. Patients were excluded if they were taking or expected to receive systemic steroids in the immediate postoperative period or had a history of bacterial or fungal infection in the preceding 30 days. Patients, caregivers, and those assessing outcomes were masked to allocation. The primary outcomes were 30-day mortality and a composite of death and major morbidity (ie, myocardial injury, stroke, renal failure, or respiratory failure) within 30 days, both analysed by intention to treat. Safety outcomes were also analysed by intention to treat. This study is registered with ClinicalTrials.gov, number NCT00427388.
Findings Patients were recruited between June 21, 2007, and Dec 19, 2013. Complete 30-day data was available for all 7507 patients randomly assigned to methylprednisolone (n= 3755) and to placebo (n= 3752). Methylprednisolone, compared with placebo, did not reduce the risk of death at 30 days (154 [4%] vs 177 [5%] patients; relative risk [RR] 0.87, 95% CI 0.70-1.07, p= 0.19) or the risk of death or major morbidity (909 [24%] vs 885 [24%]; RR 1.03, 95% CI 0.95-1.11, p= 0.52). The most common safety outcomes in the methylprednisolone and placebo group were infection (465 [12%] vs 493 [13%]), surgical site infection (151 [4%] vs 151 [4%]), and delirium (295 [8%] vs 289 [8%]).
Interpretation Methylprednisolone did not have a significant effect on mortality or major morbidity after cardiac surgery with cardiopulmonary bypass. The SIRS trial does not support the routine use of methylprednisolone for patients undergoing cardiopulmonary bypass
Evaluation of Tricuspid and Pulmonary Valves Using Epicardial and Transesophageal Echocardiography—A Comparative Study
No full textAssociation of homocysteine and smoking with cerebral microemboli in patients with mechanical heart valves: a transcranial Doppler study
No full textAdverse effect of prearrest hypothermia in immature hearts: Rate versus duration of cooling
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A simulated training model for laparoscopic pyloromyotomy: Is 3D printing the way of the future?
No full textA journey home: what drives how long people are homeless?
No full textAbstract: This paper uses survival analysis to model exits over time from two alternative notions of homelessness. We are unique in being able to account for time-invariant, unobserved heterogeneity. We find that duration dependence has an inverted U-shape with exit rates initially increasing (indicating positive duration dependence) and then falling. Like previous researchers, we find results consistent with negative duration dependence in models which ignore unobserved heterogeneity. Exit rates out of homelessness fall with age and with the education level of mothers. Women are more likely than men to exit homelessness when it is broadly conceived, but appear to be less likely to exit when it is narrowly defined. Finally, higher paternal education and exemptions from welfare-related activity requirements due to either mental or physical health conditions are all associated with higher exit rates
