Interview with Mariann Lewinsky, Il Cinema Ritrovato, Bologna, July 2, 2015

A conversation with Mariann Lewinsky, Il Cinema Ritrovato, arguing that women have a disproportionate impact upon the programming of silent film at festivals. It asks how she works and, specifically, how the change to digital has impacted archival outreach and access across the globe today.

A case for a revival of tonic sol-fa in the twenty-first century

The Tonic Sol-fa method of teaching singing was developed in England by John Curwen over a period of forty years from the 1840s until the 1870s. Although originally an aid to reading staff notation, the J 872 Standard Course saw staff notation dispensed with altogether in favour of its own notational system. By the end of the century it had spread from Britain to Australia, New Zealand, South Africa, Canada, the United States, India, China, Japan and the Pacific Islands. However, largely due to its notational isolation, Tonic Sol-fa declined markedly during the early twentieth century. Except for the incorporation of certain aspects into the Kodaly method, it has largely disappeared from contemporary music teaching practice. Surprisingly, however, Tonic Sol-fa in its nineteenth century form is presently "alive and well" in certain developing countries in Africa, Asia and the Pacific. This paper will present an analysis of Tonic Sol-fa and evaluate its characteristics in terms of contemporary pedagogical and notational theory. The paper will then report on the current use of Tonic Sol-fa in developing countries and it will be argued that, in certain of these countries, this nineteenth century teaching method and notational system has not only survived but has indeed flourished. It will be argued that, in at least one case, Tonic Sol-fa has been "indiginised" so that it has not only become an integral part of the musical culture but also has become part of the social fabric of the country. The case will be put for a revival of Tonic Sol-fa in developing countries where, for social, economic and educational reasons, an alternative model to that utilised in more highly developed countries may be more successful/ in promoting school and community choral music.

Tonic sol-fa in South Africa : a case study of endogenous musical practice

Tonic Sol-fa was introduced to South Africa during the mid nineteenth century initially by Christian missionaries and later by professional educators to schools, teacher training institutions and local communities. Despite Tonic Sol-fa being the principal means of formal pedagogy and the most commonly-accepted notational medium through which South African communities have developed and sustained what is unquestionably a vibrant choral music tradition, there has been some fairly forthright condemnation of the overall effects of European music - particularly tonal-functional harmony - on indigenous culture. Agawu (2003) and Nzewi (1999), for example, have identified what they describe as the adverse effects of European music on African culture.

This paper counters these criticisms in one respect. It argues that, as one of the most prominent manifestations of European musical culture in sub-Saharan Africa, Tonic Sol-fa represents what Ntuli (2001) identifies as endogenous knowledge - knowledge acquired from non-indigenous sources that has been assimilated and integrated with indigenous knowledge to become the collective heritage of a people. This contention is supported by four short case studies of indigenous South African composers - two past and two contemporary musicians - who have utilised Tonic Sol-fa in their choral music writing and teaching, albeit in differing ways. The paper aims to counter the general criticism that European music has been injurious to indigenous African culture; rather it argues that in reality this manifestation of European music represents an exemplar of endogenous knowledge.

Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.

Tonic Sol-fa in contemporary choral music practice : a South African case study

The Tonic Sol-fa method of teaching choral singing was propagated throughout Britain during the nineteenth century with the dual objectives of enhancing Christian worship and achieving social reform. It was then imported to South Africa where it was introduced to indigenous people principally through Christian missionary activity and government schools. Although entirely of foreign origin, Tonic Sol-fa was so fully assimilated into African culture that it became effectively 'indigenised'. Due to its widespread use, it became the mainstay of community choral singing and may now be said to represent a significant exogenous aspect of present-day South African musical identity. However, there is little documentation regarding the type and extent of its use in contemporary choral music practice.

This paper will report on the use of Tonic Sol-fa in representative present-day choral music settings. Interview data collected from choir directors, trainers and teachers in Cape Town indicate that there is far from unanimous agreement on several aspects - in particular, the future of Tonic Sol-fa as a pedagogy and notational system. Improving educational opportunities for indigenous South Africans to undertake professional training in music are now threatening the traditional dominance of Tonic Sol-fa in indigenous culture. Nevertheless this research represents a useful case study of the continuing relevance of Tonic Sol-fa to an indigenous population who have 'made it their own' and developed a vibrant choral tradition which continues to both enrich and sustain their lives.

Relationship between platelet phospholipid FA and mean platelet volume in healthy men

Increased mean platelet volume (MPV) has been suggested as an independent risk factor for acute myocardial infarction and the increased reactivity of large platelets. The aim of this study was to investigate the correlation between platelet phospholipid (PL) PUFA composition and MPV in 139 free-living healthy men ages 20-55 yr (vegans, n = 18; ovolacto vegetarians, n = 43; moderate meat-eaters, n = 60; and high meateaters, n = 18). Each subject completed a semiquantitative Food Frequency Questionnaire and gave a blood sample. Platelet PL FA composition and MPV were determined by standard methods. MPV was significantly greater in the vegans than in the ovolacto vegetarian, moderate, or high meat-eater groups (P < 0.01). Both vegan and ovolacto vegetarian groups had significantly higher platelet PL 18:2n-6 and 22:4n-6, and lower 20:5n-3 and 22:6n-3 compared with the moderate and high meat-eater groups. The vegans demonstrated a significant reduction in 20:4n-6 and 22:5n-3 compared with the ovolacto vegetarian, high meat-eater, and moderate meat-eater groups. Bivariate analysis results showed that MPV was significantly positively correlated with platelet PL 18:2n-6 (P = 0.048) and negatively correlated with 20:3n-6 (P = 0.02), 20:5n-3 (P = 0.005), and 22:5n-3 (P< 0.0001), respectively. In a multiple linear regression analysis, after controlling for potential confounding factors such as dietary group, age, exercise, body mass index, and dietary polyunsaturated and saturated fat, cholesterol, carbohydrate, and fiber intake, the MPV was still strongly negatively correlated with platelet PL 20:3n-6 (P = 0.003) and 22:5n-3 (P = 0.001). The present data suggest that 22:5n-3 and 20:3n-6 may play a role in the structural function of the platelet membrane.

Lipids and FA analysis of canine prostate tissue

It is widely reported that an association exists between dietary fat intake and the incidence of prostate cancer in humans. To study this association, there is a need for an animal model where prostate carcinogenesis occurs spontaneously. The canine prostate is considered a suitable experimental model for prostate cancer in humans since it is morphologically similar to the human prostate and both humans and dogs have a predisposition to benign and malignant prostate disease. In this study, the FA and lipids profiles of the normal canine prostate tissue from nine dogs were examined. The total lipid content of the canine prostate tissue was 1.7±0.5% (wet weight). The lipid composition analysis using TLC-FID showed that the two major lipid classes were phospholipids and TAG. Total FA, phospholipid, and TAG FA analysis showed that the major FA were palmitic acid (16∶0), stearic acid (18∶0), oleic acid (18∶1), linoleic acid (18∶2n−6), and arachidonic acid (20∶4n−6), The n−3 FA were present at <3% of total FA and included α-linolenic acid (18∶3n−3) (in total and TAG tissue FA), EPA (20∶5n−3) (not in TAG), and DHA (22∶6n−3) (not in TAG). The n−3/n−6 ratio was 1∶11, 1∶13, and 1∶8 in total, phospholipid, and TAG FA, respectively. This study shows the canine prostate has a low level of n−3 FA and a low n−3/n−6 ratio. This is perhaps due to low n−3 content of the diet of the dogs. FA analysis of dogfoods available in Australia showed that the n−3 content in both supermarket and premium bran dogfoods was <3% (wet weight), and the n−3/n−6 ratio was low.

Lipid, FA, and sterol composition of New Zealand green lipped mussel (Perna canaliculus) and Tasmanian blue mussel (Mytilus edulis)

The lipid, FA, and sterol composition of the New Zealand green lipped mussel (NZGLM, Perna canaliculus) and of the Tasmanian blue mussel (TBM, Mytilus edulis) were compared using TLC-FID and GC-MS. The respective mussel species were obtained from three different sites in both New Zealand (NZ) and Tasmania. Lipid class distribution of both mussel species was characterized by a high proportion of phospholipid (PL, 57–79%) and TG (10–25%), FFA (7–12%), and sterols (ST, 12–18%). The NZGLM had higher proportions of TG, FFA, and ST (P<0.01), whereas the TBM had a higher proportion of PL (P<0.01). There were higher proportions of total PUFA, saturated FA, n−3 FA, and hydroxy and nonmethyleneinterrupted FA (P<0.05) in the TBM compared with the NZGLM. The major FA in the NZGLM were 16∶0 (15–17%), 20∶5n-3 (14–20%), and 22∶6n-3 (11–17%). The same FA dominated lipids in the TBM, although there were significantly higher proportions of 16∶0 (P=0.000) and 22∶6 n−3 (P=0.003) and lower proportions of 20∶5n-3 (P=0.0072) in the TBM. A novel PUFA, 28∶8n-3, was detected in both mussels with higher amounts in the TBM, which probably reflects a greater dietary contribution of dinoflagellates for this species. Cholesterol was the dominant sterol in both mussels. Other major sterols included brassicasterol, 22-methylcholesterol, trans-22-dehydrocholesterol, and desmosterol. There were significant differences (P<0.05) between the NZGLM and TBM for 12 of the 20 sterols measured. Six sterols showed significant site differences for the NZGLM, and 10 for the TBM. The differences in the FA and sterol composition between the two species may be due to the diet of the NZGLM being more diatom-derived and the diet of the TBM having a greater dinoflagellate component.