Searching the Rhone delta channel in Lake Geneva since François‐Alphonse Forel

In the late 19th century, F.A. FOREL led investigations of the Rhone River delta area of Lake Geneva that resulted in the dis- covery of a textbook example of a river-fed delta system containing impressive subaquatic channels. Well ahead of the marine counterparts, scientific observations and interpretations of water currents shaping the delta edifice for the first time documented how underflow currents carry cold, suspension-laden waters from the river mouth all the way to the deep basin. These early investigations of the Rhone delta laid the basis for follow-up studies in the 20th and 21th centuries. Sediment coring, water-column measurements, manned submersible diving, seismic reflection profiling and bathymetric sur- veying eventually provided a rich database to unravel the key erosional and depositional processes, further documenting the impact of human-induced changes in the catchment. With the merging of old and new scientific knowledge, today a comprehensive understanding prevails of how a delta changes through time, how its channels are formed, and what potential natural hazards may be related to its evolution. New and efficient bathymetric techniques, paired with novel coring operations, provided a time-series of morphologic evolution showing and quantifying the high dynamics of the delta/channel evolution in an unprecedented temporal and spatial reso- lution. Future investigations will continue to further quantify these dynamic processes and to link the evolution of the subaquatic domain with changes and processes in the catchment and with natural hazards. Its size, easy access, and large variety of states and processes will continue to make the Rhone delta area a perfect ‘laboratory’ in which general processes can be studied that could be upscaled or downscaled to other marine and lacustrine deltas.

Applaus und Komposition im 18. Jahrhundert

Wer eine Konzertkarte kauft, verpflichtet sich gewissermaßen, die „Regeln“ des Konzertes zu befolgen. Diese beinhalten auch, dass nicht jederzeit und nicht an beliebiger Stelle applaudiert werden darf. Das Verbot, zwischen den Sätzen eines Werkes zu klatschen, ist heute ein ungeschriebenes Gesetz, das es so – wie ein Blick in die Geschichte des Konzertwesens zeigt – nicht immer gegeben hat. Die Rezeption von Musik, wie sie im Konzert stattfindet, ist vielmehr eine junge Erfindung, die an die Entstehung der Öffentlichkeit im 18 Jh. gekoppelt ist. Die Musikwissenschaftlerin Cristina Urchueguía wird diese Entwicklung anhand von Bildern, Kompositionen und Zeugnissen schlaglichtartig skizzieren

On the use of textural features for writer identification in old handwritten music scores

Writer identification consists in determining the writer of a piece of handwriting from a set of writers. In this paper we present a system for writer identification in old handwritten music scores which uses only music notation to determine the author. The steps of the proposed system are the following. First of all, the music sheet is preprocessed for obtaining a music score without the staff lines. Afterwards, four different methods for generating texture images from music symbols are applied. Every approach uses a different spatial variation when combining the music symbols to generate the textures. Finally, Gabor filters and Grey-scale Co-ocurrence matrices are used to obtain the features. The classification is performed using a k-NN classifier based on Euclidean distance. The proposed method has been tested on a database of old music scores from the 17th to 19th centuries, achieving encouraging identification rates.

European summer temperature response to annually dated volcanic eruptions over the past nine centuries

The drop in temperature following large volcanic eruptions has been identified as an important component of natural climate variability. However, due to the limited number of large eruptions that occurred during the period of instrumental observations, the precise amplitude of post-volcanic cooling is not well constrained. Here we present new evidence on summer temperature cooling over Europe in years following volcanic eruptions. We compile and analyze an updated network of tree-ring maximum latewood density chronologies, spanning the past nine centuries, and compare cooling signatures in this network with exceptionally long instrumental station records and state-of-the-art general circulation models. Results indicate post-volcanic June–August cooling is strongest in Northern Europe 2 years after an eruption (−0.52 ± 0.05 °C), whereas in Central Europe the temperature response is smaller and occurs 1 year after an eruption (−0.18 ± 0.07 °C). We validate these estimates by comparison with the shorter instrumental network and evaluate the statistical significance of post-volcanic summer temperature cooling in the context of natural climate variability over the past nine centuries. Finding no significant post-volcanic temperature cooling lasting longer than 2 years, our results question the ability of large eruptions to initiate long-term temperature changes through feedback mechanisms in the climate system. We discuss the implications of these findings with respect to the response seen in general circulation models and emphasize the importance of considering well-documented, annually dated eruptions when assessing the significance of volcanic forcing on continental-scale temperature variations.

Wie viele soll'ns sein? Gruppierung von Instrumentalwerken im 17. und 18. Jahrhundert

Die Anzahl der Werke, aus der gedruckte Sammlungen von Instrumentalwerken im 17.-18. Jh. zusammengestellt wurden sagt viel über die Wahrnehmung des einzelnen Werkes als einzigartig aus. Die Tendenz einer Verringerung und Normalisierung der Anzahl von Werken in einer Sammlung spricht zum einen für eine verstärkte Individuellisierung der Werke, zum anderen aber für eine Standardisierung der Verlagsstrategien.

Modulation of corticospinal activity by strong emotions evoked by pictures and classical music: a transcranial magnetic stimulation study.

Using transcranial magnetic stimulation and skin conductance responses, we sought to clarify if, and to what extent, emotional experiences of different valences and intensity activate the hand-motor system and the associated corticospinal tract. For that purpose, we applied a newly developed method to evoke strong emotional experiences by the simultaneous presentation of musical and pictorial stimuli of congruent emotional valence. We uncovered enhanced motor-evoked potentials, irrespective of valence, during the simultaneous presentation of emotional music and picture stimuli (Combined conditions) compared with the single presentation of the two modalities (Picture/Music conditions). In contrast, vegetative arousal was enhanced during both the Combined and Music conditions, compared with the Picture conditions, again irrespective of emotional valence. These findings strongly indicate that arousal is a necessary, but not sufficient, prerequisite for triggering the motor system of the brain. We offer a potential explanation for this discrepant, but intriguing, finding in the paper.

«Einige Zeit aufs Singen verwendet». Musik als Kernressource dörflicher Kultur am Beispiel des schweizerischen 18. Jahrhunderts

Dealing with popular music in premodern times historical research usually focuses on so called “Volksmusik”. But already in the 18th century researchers were disappointed to find only few traces of imaginary “traditional” music in Switzerland. They unfortunately overlooked that common people kept on with their own stubborn musical culture: Beginning with the Reformation the authorities encouraged the communities to employ schoolmasters who were able to teach music. Their goal was that everybody should be able to participate in liturgical music actively. Over generations even people with no special musical talent adopted their own repertoire of psalms plus techniques of reading music and polyphonic singing. Spontaneous choral singing evolved into a common everyday practice. The most ambitious and brightest teachers even taught instrumental lessons at home on their proper pianos and chamber organs or encouraged the villagers to build new prestigious organs in their churches. The financial burden of such instruments weighted heavily on the communities. Some of them received financial support from the government, albeit unwillingly because it was obvious to the rulers that the villages just wanted to overtop each other. Homemade music was the most important issue in the cultural life of most parishes. Rich communes spent a lot of money to win the best voices on-site for their church choirs. Belonging to an elitists’ singer association paved the way to the farmer-village’s highlevel sociability.

Sphärenfeste, Harems und karibische Strände: Dystopien und Utopien im Singspiel des 18. Jhs.

Im Singspiel des 18. Jhs. spielen dystopische Erzählungen eine wichtige Rolle. Fremdheit und Gesellschaftskritik werden gerne in exotischen Dekors übertragen wie dem Osmanischen Reich, das Weltall oder die Amerikanischen Kolonien.