Music therapy, in tuning at the end of life

In this article music therapy is presented as a helpful tool to support the persons (and their relatives) living at the end of their life and, also, as a non pharmacological and complementary therapy in an integral and holistic medicine. What we report here comes from the direct experience, nourished after many years of interventions and reflections in oncology and palliative care units. We’re talking about silence, music, therapy, models and techniques. We will read and feel therapeutic sessions… but above all, we’re talking about life, conscience and love.

Franz Liszt’s Piano Sonata in B Minor: Precedents for an Analytical Evolution

Franz Liszt has all too often been discarded as the virtuosic showman, despite the fact that his several of works have often gained great praise and attracted scholarly engagement. However, one also finds striking development of formal design and tonal harmony in many of the works for his principal composition medium, the piano. This paper seeks to explore the practical application of James A. Hepokoski and Warren Darcy’s 'Sonata Theory' upon Liszt’s magnum opus for the instrument, the Sonata in B Minor.

I shall first consider the historical analyses placed upon the work that deal with structural design, as it pertains to the paradigm of Classical sonata-form. Previous research reveals two main theoretical camps; those in favour of a multi-movement analysis (with conflicting hypotheses therein) and those in favour of a single movement sonata-form. An understanding of these historical conceptions of the piece allows one to then highlight areas of conflict and offer a new solution.

Finally, I shall use Sonata Theory to survey the Sonata in B Minor’s landscape in a new light. The title ‘Sonata’ has clear generic implications, many of which are met by Liszt; 'Sonata Theory' provides a model with which to outline the compositional deformations employed by the composer and the implications of this practice. In particular, I offer new perspectives on the validity of the double-function form, insight into the rhetorical layout of a rotational discourse, and propose a nuanced analysis befitting of this striking work.

Modulação pela progesterona da sensibilidade dolorosa a estímulos mecânicos e isquêmicos em mulheres saudáveis e jovens

BRUNO, S. S. ; SOUSA, M. B. C. . Modulação pela progesterona da sensibilidade dolorosa a estímulos mecânicos e isquêmicos em mulheres saudáveis e jovens. RBGO. Revista Brasileira de Ginecologia e Obstetrícia , v. 30, p. 306-311, 2008

Monosyllabic Circumflexion in Lithuanian

This PhD thesis examines a phenomenon known as Monosyllabic Circumflexion (MC, hereafter) from a historical linguistics / phonological point of view. MC denotes a Lithuanian or Balto-Slavic phenomenon according to which long vowels and diphthongs in monosyllabic words exhibit a circumflex tone instead of the expected acute tone.  It is observed in the following four categories: I. 3rd person future forms of monosyllabic stems (e.g., šõks ― šókti `to jump;' vy͂s ― výti `to drive') II. reflexes of PIE root nouns (e.g., Latv. gùovs `cow;' Lith. šuõ `dog') III. prepositions/adverbs (e.g., nuõ `from' ~  nùotaka `bride;' vė͂l `again' ~ Latv. vêl `still, yet,' tė͂ (permissive particle) < *teh1) IV. pronominal forms (e.g., tuõ ~ gerúoju `the good (m.~sg.~instr.),' tie͂ ~ tíeji `id. (pl.nom)'). The unexpected circumflex tone in these categories is problematic and important for the solution of a Balto-Slavic accentological question on the etymological background of acute and non-acute tones. The aim of this thesis is to partially contribute to the solution of this problem by establishing the existence of MC and its relative chronology. The first category, the 3rd person future forms, provides a substantial number of examples and counterexamples. The examination of them has revealed the fact that the counterexamples constitute a morpho-semantic group of verbs whose future stems underwent considerable morphological changes in the prehistory, hence not exhibiting MC. This shows that the regular tonal reflex of the 3rd person future forms of monosyllabic acute stem must be circumflex, allowing for the establishment of MC as a regular phonological process, although this category does not provide much information on the relative chronology of MC. The second category, the reflexes of Proto-Indo-European root nouns, gives an important clue as to where MC is located in the relative chronology of Balto-Slavic sound changes. Next, there is a discussion of whether the results of the examinations of the first two categories can be maintained for the data of the third and fourth categories, which show an irregular distribution of the acute and circumflex tones in monosyllabic forms. It is shown that various morphological factors, such as homonymic clashes within the paradigms for pronouns, can explain why some monosyllabic forms have acute tone. Also, the linguistic feature of West Aukštaitian dialects of Lithuanian that tend to preserve the results of MC is revealed. These dialects are known to have played an important role in the formation of standard Lithuanian. In this way, the monosyllabic forms with unexpected circumflex tone in Lithuanian are explained as a combination of MC in the Proto-Balto-Slavic time and the dialectal tendency of West Aukštaitian dialects of Lithuanian.

Processing of hierarchical syntactic strusture in music

Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions inwhich the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.

Isquemia Pélvica Aguda: uma Complicação Fatal após Tratamento Endovascular de Aneurisma Aorto-Ilíaco com Prótese Ramificada da Ilíaca

Introdução: A oclusão da artéria hipogástrica pode ser necessária na reparação endovascular de aneurismas da aorta abdominal (EVAR). A oclusão intencional da hipogástrica pode ter complicações isquémicas. As endopróteses de bifurcação ilíaca (IBD) surgiram como alternativa endovascular à oclusão da hipogástrica em doentes com elevado risco para isquemia pélvica. Os autores descrevem um caso de oclusão precoce do ramo hipogástrico de IBD com graves consequências clínicas. Caso clínico: Sexo masculino, de 74 anos, com aneurisma da aorta abdominal (diâmetro máximo de 55 mm) com envolvimento de ambas as bifurcações ilíacas e segmentos proximais das hipogástricas (diâmetro máximo de 31 e 32 mm), submetido a EVAR com revascularização hipogástrica esquerda via IBD (Cook Zenith®) e coiling+overstenting da artéria hipogástrica contralateral. O procedimento decorreu sem complicações e a angiografia final mostrava permeabilidade da hipogástrica revascularizada e escassa colateralidade pélvica. O pós-operatório imediato complicou-se de dor lombar e glútea bilateral associada a manifestações cutâneas isquémicas e monoparesia do membro inferior esquerdo. Por agravamento progressivo nas primeiras 24h e angioTC com oclusão do stent da hipogástrica esquerda, procedeu-se novamente a revascularização da hipogástrica, com bom resultado na angiografia final. Apesar da revascularização bem-sucedida, houve agravamento progressivo do estado geral, com isquemia pélvica irreversível e rabdomiólise. Óbito ao 5.◦dia pós-operatório. Conclusão: A isquemia pélvica aguda é uma complicação grave e frequentemente fatal que pode advir da oclusão bilateral das artérias hipogástricas. A falência da revascularização por IBD pode ser fatal, pelo que os autores aconselham um cuidado redobrado no controlo angiográfico final e um baixo limiar para investigação na suspeita de complicações pós-operatórias. Se maior risco de falência técnica, embolização ou escassa colateralidade pélvica, a preservação bilateral de fluxo nas artérias hipogástricas pode estar recomendada.

Commande d'un anti-bruit harmonique généré par un écoulement pulsé

Le contrôle de bruit est un domaine de recherche très fertile. Que ce soit pour du contrôle actif ou passif, de nombreuses recherches sont menées pour améliorer les méthodes existantes ou pour trouver de nouveaux procédés. Ainsi, dans le domaine du contrôle actif, de nouveaux moyens de production d’anti-bruit sont développés en vue de les substituer aux duos amplificateur/haut-parleur fragiles, gourmands en énergie et encombrants. Le sujet abordé ici est la conception et la réalisation d’un prototype capable de générer de forts niveaux de bruit à partir d’une source d’écoulement d’air à fort débit. Le prototype servira ensuite de source pour le contrôle actif du bruit d’un ventilateur. Pour atteindre ces performances, un design simple a été développé : l’obstruction périodique de l’écoulement d’air comprimé génère une source acoustique harmonique à la fréquence d’obstruction de l’écoulement. Le contrôle de la vitesse de l’obstruction gère la fréquence et la phase de l’anti-bruit émis. Le dispositif conçu dans ce projet permet de générer un bruit tonal réglé en phase et en fréquence sur une référence, pour une pression acoustique de 110 dB à 1 m.

...Em busca da realidade... : a experiência da etnicidade dos Eleotérios (Catu/RN)

The south region of the Rio Grande do Norte has been historically recognized as a place of old indian villages. Inhabitants of the edges of the Catu River, border between the cities of Canguaretama and Goianinha, the Eleotérios in the threshold of 21st century had passed to be seen and self recognized as "remaining indians" of the RN. Their ethnic mobilizations, when becoming public had placed to the intellectual and political fields an old question to be reflected on: the asseverations concerning the "indian disappearing" in the State. This item brings with it other implications. Accessed by a para-oficial indigenism, the Eleotérios had started to establish political relations with the Potiguara indians of the Baía da Traição/PB and the Indian Movement, feeling stimulated to produce and to reproduce forms of social differentiation. In this context, this research is worried about elucidating the process of construction of the ethnicity among the Eleotérios, percepted from the social relations and politics kept with the amplest society, into a particular historical situation involving sugar cane fields owners, proprietaries, militants, researchers, ambiental agencies. The effects of these political and social relations had been extended, making Eleotérios appear to the society as susceptible social actors to the specific policies for the aboriginal populations

Modulação pela progesterona da sensibilidade dolorosa a estímulos mecânicos e isquêmicos em mulheres saudáveis e jovens

BRUNO, S. S. ; SOUSA, M. B. C. . Modulação pela progesterona da sensibilidade dolorosa a estímulos mecânicos e isquêmicos em mulheres saudáveis e jovens. RBGO. Revista Brasileira de Ginecologia e Obstetrícia , v. 30, p. 306-311, 2008

Avaliação do potencial cancerigénico de microcistinas (cianotoxinas)

Tese de doutoramento em Farmácia (Toxicologia), apresentada à Faculdade de Farmácia da Universidade de Lisboa, 2009.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.

Antonio Salieri's La calamita de' cuori (1774): Sources, Form, Context

Antonio Salieri’s La calamita de’ cuori (1774) warrants musicological attention for what it can tell us about Salieri’s compositional craft and what it reveals about the development of form in Viennese Italian-language comic opera of the mid- and late-eighteenth century. In Part I of this dissertation, I explore the performance history of La calamita, present the first plot synopsis and English translation of the libretto, and describe the variants between Carlo Goldoni’s 1752 libretto and the revised version created for Salieri’s opera. I have collated Salieri’s holograph score, Österreichische Nationalbibliothek, Vienna, Mus. Hs. 16.508, with four copies having different relationships to it, and I propose a stemma that represents the relationships between these five sources. The analyses in Part II contribute to our understanding of formal practices in eighteenth-century drammi giocosi. My study of Salieri’s La calamita reveals his reliance on a clearly defined binary structure, referred to in this dissertation as “operatic binary form,” in almost half of the arias, ensembles, and instrumental movements of this opera. Salieri’s consistent use of operatic binary form led me to explore its use in drammi giocosi by other prominent composers of this time, including Baldassare Galuppi’s La calamita de’ cuori (1752), Wolfgang Amadeus Mozart’s Il dissoluto punito, ossia Il Don Giovanni (1787), and selected arias by Pasquale Anfossi, Florian Leopold Gassmann, Giuseppe Gazzaniga, Franz Joseph Haydn, Giovanni Paisiello, and Niccolò Piccinni dating from 1760 to 1774. This study showed that Salieri and his peers adhered to a recognizable tonal plan and set of design elements in their operatic binary forms, and that their arias fall into three distinct categories defined by the tonality at the beginning of the second half of the binary structure. The analysis presented here adds to our present understanding of operatic form in mid- and late-century drammi giocosi and shows that in La calamita de’ cuori, Salieri was following the normative formal procedures of his time.

Processing of hierarchical syntactic strusture in music

Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions inwhich the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.

Nicolau e Nicolina, 90 anos de travessuras

Tomámos a rubrica Diabruras de Nicolau, mais tarde Nicolau e Nicolina, do primeiro suplemento infantil de grande fôlego em Portugal – o Notícias Miudinho do Diário de Notícias, – e propusemo-nos criar cinco Livros- -de-Montar, um para cada fase do seu percurso, entre 1924 e 1933. Observámos o percurso das publicações infantis em Portugal, particularmente nas décadas dos nossos protagonistas, e tirámos ilações dos seus períodos áureos; pesquisámos suportes e mecanismos em papel recortado e todo o tipo de livros, no limiar do conceito. Tentámos perceber como poderíamos, sem recorrer a mão-de-obra estrangeira, criar livros pop-up em Portugal, a baixo custo, e contribuir para melhorar dois pontos fracos da cultura de hoje, que o nosso exercício na docência verifica diariamente: desenvolver competências ao nível da motricidade fina, perceção do espaço e gosto pela leitura; e fomentar momentos de partilha “analógica” entre gerações, cuja falta é hoje gritante; ABSTRACT: NICOLAU E NICOLINA, 90 years of pranks Taking as a starting Diabruras de Nicolau, later Nicolau e Nicolina, the first children’s supplement of grand success in Portugal – the Notícias Miudinho of Diario de Noticias, - we proposed to create five books to assemble, one for each phase of its course, between 1924 and 1933. We analysed the course of children’s publications in Portugal, particularly in the decades of our protagonists, taking conclusions of its golden periods; we searched for supports and mechanisms in cut paper and all kind of books, in the concept’s threshold. We tried to understand how we could create, without resorting to cheap labour from around the globe, pop-up books in Portugal, at low cost, and also to contribute to improving two weak points in today’s culture, that we as teachers face every day: to develop delicate motor skills, space perception and a taste for reading; and to encourage moments of analogical closeness between generations, whose absence is striking today.