Open Door Newsletter of the Library, Summer 2005

The Open Door newsletter is produced by the Iowa Commission for the Blind. It is published twice a year with information about the library programs and what is going on.

Open Door Newsletter of the Library, Winter 2006

The Open Door newsletter is produced by the Iowa Commission for the Blind. It is published twice a year with information about the library programs and what is going on.

Open Door Newsletter of the Library, Winter 2007

The Open Door newsletter is produced by the Iowa Commission for the Blind. It is published twice a year with information about the library programs and what is going on.

Open Door Newsletter of the Library, Spring 2008

The Open Door newsletter is produced by the Iowa Commission for the Blind. It is published twice a year with information about the library programs and what is going on.

Open Door Newsletter of the Library, Winter 2009

The Open Door newsletter is produced by the Iowa Commission for the Blind. It is published twice a year with information about the library programs and what is going on.

The White Cane Magazine, Fall 2010, Vol.1, no. 4

Newsletter produced by Iowa Department of the Blind.

Comparison of transhiatal laparoscopy versus blind closed-chest cervicotomy and laparotomy for esophagectomy in children.

BACKGROUND: Esophageal replacement for caustic stenosis in children poses a challenging surgical problem. Blind removal of the injured esophagus without thoracotomy through a left cervical and transhiatal approach followed by an orthotopic esophageal replacement using either the colon or the stomach is a difficult procedure and can be dangerous in children. We performed our first total laparoscopic transhiatal esophagectomy in February 2007. We aim to compare this new technique to the previously applied method of blind closed-chest esophagectomy through a cervicotomy and laparotomy. METHODS: We analyzed the surgery and follow-up of 40 children operated upon for extensive irreversible caustic burns of the esophagus. The first 20 esophageal replacements were performed following a blind dissection of the mediastinum through a cervical incision and a laparotomy for esophagectomy (Group I). The last 20 esophageal replacements were performed after laparoscopic transhiatal dissection in the mediastinum and cervicotomy in the neck for esophagectomy (Group II). All operations were performed under the supervision of the same senior surgeon. RESULTS: Average age at the time of surgery was the same in both groups. Total esophagectomy was achieved in 45.0% of cases in Group I versus in 90.0% of cases in Group II. Colon was used in 80.0% of cases in Group I and in 90.0% in Group II. The mean duration of surgery was one hour longer in the laparoscopy group. One vascular injury was reported in the blind laparotomy group. Pneumothorax was more frequent in Group II without significant consequences besides drainage. Average time of extubation was about the same in both groups (1.8days). CONCLUSION: Laparoscopic transhiatal esophagectomy for caustic burns before esophageal replacement in children is safe and effective. It could avoid vascular and bronchial mediastinal injuries as the dissection is performed under direct visual control. The routine use of laparoscopic assistance by a senior surgeon improves the safety of esophageal dissection and reduces life-threatening complications.

A knowledge based signal processing approach to tonic identification in indian classical music

In this paper, we describe several techniques for detecting tonic pitch value in Indian classical music. In Indian music, the raga is the basic melodic framework and it is built on the tonic. Tonic detection is therefore fundamental for any melodic analysis in Indian classical music. This workexplores detection of tonic by processing the pitch histograms of Indian classic music. Processing of pitch histograms using group delay functions and its ability to amplify certain traits of Indian music in the pitch histogram, is discussed. Three different strategies to detect tonic, namely, the concert method, the template matching and segmented histogram method are proposed. The concert method exploits the fact that the tonic is constant over a piece/concert.templatematchingmethod and segmented histogrammethodsuse the properties: (i) the tonic is always present in the background, (ii) some notes are less inflected and dominant, to detect the tonic of individual pieces. All the three methods yield good results for Carnatic music (90−100% accuracy), while for Hindustanimusic, the templatemethod works best, provided the v¯adi samv¯adi notes for a given piece are known (85%).

Parametric Approach to Blind Deconvolution of Nonlinear Channels

A parametric procedure for the blind inversion of nonlinear channels is proposed, based on a recent method of blind source separation in nonlinear mixtures. Experiments show that the proposed algorithms perform efficiently, even in the presence of hard distortion. The method, based on the minimization of the output mutual information, needs the knowledge of log-derivative of input distribution (the so-called score function). Each algorithm consists of three adaptive blocks: one devoted to adaptive estimation of the score function, and two other blocks estimating the inverses of the linear and nonlinear parts of the channel, (quasi-)optimally adapted using the estimated score functions. This paper is mainly concerned by the nonlinear part, for which we propose two parametric models, the first based on a polynomial model and the second on a neural network, while [14, 15] proposed non-parametric approaches.

Quasi-Nonparametric Blind Inversion of Wiener Systems

An e cient procedure for the blind inversion of a nonlinear Wiener system is proposed. We proved that the problem can be expressed as a problem of blind source separation in nonlinear mixtures, for which a solution has been recently proposed. Based on a quasi-nonparametric relative gradient descent, the proposed algorithm can perform e ciently even in the presence of hard distortions.

Carnatic music: Svara, Gamaka, Motif and Raga identity

Over the last century in Karnatik music, the method ofunderstanding raga has been to break it down into its variouscomponents, svara, scale, gamaka, and phrases. In this paper, an attempt is made to define the abstract concept of raga in its entirety within the aesthetics of Karnatik music considering the various components and their symbiotic relationship. This paper also attempts to prove that theidentity of a raga exists as a whole. Section 2 explains theconcept of a fundamental musical note or svara. Section 3 illustrates the concept of gamaka or inflections. Section 4 delves into the concept of raga in detail and then flows into Section 5 which enunciates the identity of a raga in terms of svara, gamaka, and phraseology. The paper concludes in Section 6, and Section 7 gives the references.

Alitajunta ei ole kaikille sama : neosurrealismi, anarkia ja uusi taide - John Richardsonin kirja An Eye for Music avaa näkökulmia digitaalisen ajan surrealismille

Kirjallisuusarvostelu

Acoustic composition : exploring metaphorical and perceived connections between patterns of sound in the Opera The Beast in the Jungle

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l ’Université de Montréal (www.bib.umontreal.ca/MU).

The Aesthetics of Madame de Staël and Mary Shelley

L’esthétique de Madame de Staël and Mary Shelley discute l’art de l’improvisation et le concept de l’enthousiasme dans les écrits de ces deux auteurs. Dans ce projet, j’explore l’esthétique d’improvisation et d’enthousiasme de Madame de Staël dans Corinne, en me référant à son autre roman Delphine, à sa pièce de théâtre Sapho, et à ses nouvelles ainsi qu’à ses textes philosophiques comme De l’Allemagne, De l’influence des passions, et De la littérature. J’argumente que Madame de Staël représente à travers le caractère de Corinne une esthétique anti-utilitaire. J’explique qu’elle évoque des valeurs cosmopolites qui valorisent une culture indigène qui est en opposition avec l’impérialisme de Napoléon. De plus, j’examine comment les improvisations de Corinne dérivent d’un enthousiasme qui est associé à la définition que Platon offre du terme. Ceci est évident par la signification que Madame de Staël présente du terme dans De L’Allemagne. J’interprète la maladie de Corinne comme étant d’origine psychosomatique qui est manifesté par la perte de son génie et par un suicide lent qui est une expression de colère contre la patriarchie. Le caractère de Corinne permet à Madame de Staël d’explorer le conflit que les femmes artistes éprouvaient entre ayant une carrière artistique et adhérant à l’idéologie domestique. Chapitre deux se concentre sur l’intérêt que Shelley démontre sur l’art de l’improvisation comme elle l’exprime dans ses lettres à propos de l’improvisateur Tommaso Sgricci. Malgré sa fascination avec la poésie extemporanée, Shelley regrette que cette forme d’art soit évanescente. Aussi, j’examine son enthousiasme pour un autre artiste, Nicolò Paganini. Son enchantement avec se violoniste virtuose est lié à des discours concernant le talent surnaturel des improvisateurs. J’argumente qu’il y a un continuum d’improvisation entre les balades orales du peuple et les improvisations de culture sophistiqué des improvisateurs de haute société. J’estime que les Shelleys collaboraient à définir une théorie d’inspiration à travers leurs intérêts pour l’art de l’improvisation. Chapitre trois considère le lien entre cosmologie et esthétique d’inspiration à travers la fonction de la musique, spécialement La Création de Joseph Haydn, dans The Last Man de Shelley. J’examine la représentation du sublime des Alpes dans le roman à travers de discours qui associent les Alpes avec les forces primordiales de la création. Les rôles de la Nécessité, Prophétie, et du Temps peuvent être compris en considérant la musique des sphères. Chapitre quatre explore les différentes définitions de terme enthousiasme dans les écrits de Shelley, particulièrement Valperga et The Last Man. Je discute l’opinion de Shelley sur Madame de Staël comme suggéré dans Lives. J’analyse les caractères qui ressemblent à Corinne dans les écrits de Shelley. De plus, je considère les sens multiples du mot enthousiasme en relation avec la Guerre civil d’Angleterre et la Révolution française. Je présente comment le terme enthousiasme était lié au cours du dix-septième siècle avec des discours médicales concernant la mélancolie et comment ceci est reflété dans les caractères de Shelley.

A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.