Here I am yet cannot hold this visible shape:The Music of Gender in Shakespeare’s Twelfth Night

Music has always been used as an important dramaturgical strategy in Western theatre to create a holistic theatrical experience. In Shakespeare’s plays, music was employed as a unique dramaturgical device for various purposes. Twelfth Night distinguishes itself from among the many plays that employ music because it begins, ends and progresses with music. Music pervades Twelfth Night and is tightly interwoven into the thematic concerns of the play such as love and gender. Because of music’s elusive nature and the difficulty of discussing a musical aesthetics, Shakespearean music critics have approached music in the play as a theme or an idea. This paper hopes to develop upon older scholarship by introducing an alternate framework of considering music’s musicality through a musicological analysis of the songs in Twelfth Night. In so doing, the paper hopes to show how and why music can modulate our responses to the play and in particular, to the theme of gender, a problematic issue that produces the elusive and darker nature of this festive comedy.

Merula

Merula is a thirty-minute work for bass flute and electronics, commissioned by Icelandic flautist Kolbeinn Bjarnason. The premiere took place in the Belfast Festival at Queen’s in November 2012. A recording will be made in 2014. Further performances in Iceland, Norway and Poland are anticipated in 2014-15. I have given a research seminar on this work at Queen’s and will deliver it again at the University of Oxford during 2013-14.

Research Goals
1) To develop an effective means of notating live electronics in a manner that would sustain the work's performance history beyond the current generation of software
2) To apply the techniques of transcription and spectralism used in my composition, Perseid, using birdsongs as source material
3) To explore the problem of sustaining large-scale form in music that is primarily fast
4) To facilitate the emergence of the solo bass flute as an important solo instrument through the completion of a new large-scale work

Methodology
• Methodologies employed in this project included sound recording, sound analysis and transcription, extensive precompositional sketching, electroacoustic techniques of sound manipulation, designing complex live processes of sound transformation and spatialisation
• A considerable part of this work was collaboration with the flautist, both in SARC and Iceland. Mr. Bjarnason was involved all stages of the work, frequently recording source materials and helping to ensure the idiomatic nature of the flute writing.
• Developing a means of notating the live electronics. Building on a model suggested by Pierre Boulez in Anthemes 2 (1998), the score of this work includes a technical manual that describes electronic processes in a manner that can be reprogrammed in subsequent generations of software. Combined with a system of notations employed in the full score, the technical manual will enable this composition to be performed by a wide range of performers and technical teams, with appropriately identical results.

Creating a Circus of Words, Music, and Sound: From Roaratorio to Owenvarragh

This article documents the creation of a work by the authors based on a score written by the composer John Cage entitled 'Owenvarragh: A Belfast Circus on The Star Factory.' The article is part of a documentary portfolio in the journal which also includes a volume of the poetry created by Dowling in accordance with the instructions of the Cage score, and a series of documentary videos on the creation of the work and its first performance. Cage's score is based on his work 'Roaratorio: An Irish Circus on Finnegan's Wake' (1979) and it provides a set of detailed instructions for the musical realisation of a literary work. The article documents this first fully realised version of the score since Cage first produced 'Roaratorio' in 1979. The work, which was motivated by the Cage centenary year in 2012, musically realises Carson's book 'The Star Factory' (1998), a novelestic autobiography of Carson's Belfast childhood. The score required the creation of a fixed media piece based on over 300 field recordings of the sounds and places mentioned in the book, a volume of poetry created from the book which is recited to form the rhythmic spine of the work, and the arrangement of a performance including these two components along with live musical performance by the authors in collaboration with three other musicians under their direction, and a video installation created for the work. The piece has been performed three times: in association with the Sonorities 2012 Festival at Queen's University of Belfast (March 2012), at The Belfast Festival at Queen's (October 2012), and in the Rymer Auditoium of the University of York (June 2013).

Additional information:

The work which the article documents was conceived by Monaghan and Dowling, and the project was initiated by Monaghan after a she received a student prize to support its development and first performance. Elements of the project will be included in her PhD dissertation for which Dowling is a supervisor. Monaghan created the fixed media piece based on over 300 field recordings, the largest single aspect of realising Cage's score. Dowling was responsible for initiating the collaboration with Ciaran Carson, and for two other components: the creation of a volume of poetry derived from the literary work which is recited in the performance, and the creation of and supervision of the technical work on a video which accompanies the piece. The co-authors consulted closely during the work on these large components from May 2011 until March 2012 when the first performance took place. The co-authors also shared in numerous other artistic and organisational aspects of the production, including the arrangement and performnance of the music, musical direction to other performers, and marketing.

Pre-validation methods for developing a patient reported outcome instrument

BACKGROUND: Measures that reflect patients' assessment of their health are of increasing importance as outcome measures in randomised controlled trials. The methodological approach used in the pre-validation development of new instruments (item generation, item reduction and question formatting) should be robust and transparent. The totality of the content of existing PRO instruments for a specific condition provides a valuable resource (pool of items) that can be utilised to develop new instruments. Such 'top down' approaches are common, but the explicit pre-validation methods are often poorly reported. This paper presents a systematic and generalisable 5-step pre-validation PRO instrument methodology.

METHODS: The method is illustrated using the example of the Aberdeen Glaucoma Questionnaire (AGQ). The five steps are: 1) Generation of a pool of items; 2) Item de-duplication (three phases); 3) Item reduction (two phases); 4) Assessment of the remaining items' content coverage against a pre-existing theoretical framework appropriate to the objectives of the instrument and the target population (e.g. ICF); and 5) qualitative exploration of the target populations' views of the new instrument and the items it contains.

RESULTS: The AGQ 'item pool' contained 725 items. Three de-duplication phases resulted in reduction of 91, 225 and 48 items respectively. The item reduction phases discarded 70 items and 208 items respectively. The draft AGQ contained 83 items with good content coverage. The qualitative exploration ('think aloud' study) resulted in removal of a further 15 items and refinement to the wording of others. The resultant draft AGQ contained 68 items.

CONCLUSIONS: This study presents a novel methodology for developing a PRO instrument, based on three sources: literature reporting what is important to patient; theoretically coherent framework; and patients' experience of completing the instrument. By systematically accounting for all items dropped after the item generation phase, our method ensures that the AGQ is developed in a transparent, replicable manner and is fit for validation. We recommend this method to enhance the likelihood that new PRO instruments will be appropriate to the research context in which they are used, acceptable to research participants and likely to generate valid data.

Choosing appropriate patient-reported outcomes instrument for glaucoma research: a systematic review of vision instruments

PURPOSE: To identify vision Patient-Reported Outcomes instruments relevant to glaucoma and assess their content validity.

METHODS: MEDLINE, MEDLINE in Process, EMBASE and SCOPUS (to January 2009) were systematically searched. Observational studies or randomised controlled trials, published in English, reporting use of vision instruments in glaucoma studies involving adults were included. In addition, reference lists were scanned to identify additional studies describing development and/or validation to ascertain the final version of the instruments. Instruments' content was then mapped onto a theoretical framework, the World Health Organization International Classification of Functioning, Disability and Health. Two reviewers independently evaluated studies for inclusion and quality assessed instrument content.

RESULTS: Thirty-three instruments were identified. Instruments were categorised into thirteen vision status, two vision disability, one vision satisfaction, five glaucoma status, one glaucoma medication related to health status, five glaucoma medication side effects and six glaucoma medication satisfaction measures according to each instruments' content. The National Eye Institute Visual Function Questionnaire-25, Impact of Vision Impairment and Treatment Satisfaction Survey-Intraocular Pressure had the highest number of positive ratings in the content validity assessment.

CONCLUSION: This study provides a descriptive catalogue of vision-specific PRO instruments, to inform the choice of an appropriate measure of patient-reported outcomes in a glaucoma context.

Development of a Portable Tissue Micro Array Instrument

Tissue micro array (TMA) is based on the idea of applying miniaturization and a high throughput approach to hybridization-based analyses of tissues. It facilitates biomedical research on a large scale in a single experiment; thus representing one of the most commonly used technologies in translational research. A critical analysis of the existing TMA instruments indicates that there are potential constraints in terms of portability, apart from costs and complexity. This paper will present the development of an affordable, configurable, and portable TMA instrument to allow an efficient collection of tissues, especially in instrument-to-tissue scenarios. The purely mechanical instrument requires no energy sources other than the user, is light weight, portable, and simple to use. [DOI: 10.1115/1.4004922]

Jazz in Athens: Frustrated Cosmopolitans in a Music Subculture

This paper presents an ethnographic account of jazz music in Athens. The small scene under scrutiny is mainly populated by professional session instrumentalists of the Greek popular music scene who perform jazz as a side activity for their own pleasure. In the process, they construct a conceptual dichotomy between ‘work’ and ‘play’. Drawing on the author’s extended involvement in this scene, and focusing on private interviews with musicians, this article unveils the discourses of cosmopolitanism invoked through local jazz music making. The ethnographic material presented aims to illustrate how even a small subculture can serve as a terrain for contesting cosmopolitan imaginaries.

The Paradox of Performative Immediacy: Law, Music, Improvisation

In a 1999 essay, J.M. Balkin and Sanford Levinson called for law to be considered as a performing art. Against or perhaps going further than Balkin and Levinson, this commentary claims that while engagement with performance practices in the arts, such as music, is of the utmost value to law and legal theory, we must not take for granted what it means to ‘‘perform’’. Uniting Jacques Derrida’s la Villette performance (with jazz legend, Ornette Coleman) with his writings on performativity in law, this commentary looks to the musical practice of improvisation to trouble the notion of performance as immediate and singular and to question taken for granted distinctions between text and performance, writing and music, composition and improvisation. The consequence of this refined understanding of the performative on legal theory and the actual practice of law is a reconceptualization of law as improvisation, that is, both singular and general, pre-existent and immediate, and a refocusing on the creativity that lies at the heart of law’s conservativism.

Τesting models for the beginnings of the Aurignacian and the advent of figurative art and music: The radiocarbon chronology of Geißenklösterle

The German site of Geißenklösterle is crucial to debates concerning the European Middle to Upper Palaeolithic transition and the origins of the Aurignacian in Europe. Previous dates from the site are
central to an important hypothesis, the Kulturpumpe model, which posits that the Swabian Jura was an area where crucial behavioural developments took place and then spread to other parts of Europe. The previous chronology (critical to the model), is based mainly on radiocarbon dating, but remains poorly constrained due to the dating resolution and the variability of dates. The cause of these problems is disputed, but two principal explanations have been proposed: a) larger than expected variations in the production of atmospheric radiocarbon, and b) taphonomic in?uences in the site mixing the bones that were dated into different parts of the site. We reinvestigate the chronology using a new series of radiocarbon determinations obtained from the Mousterian, Aurignacian and Gravettian levels. The results strongly imply that the previous dates were affected by insuf?cient decontamination of the bone collagen prior to dating. Using an ultra?ltration protocol the chronometric picture becomes much clearer. Comparison of the results against other recently dated sites in other parts of Europe suggests the Early Aurignacian levels are earlier than other sites in the south of France and Italy, but not as early as recently dated sites which suggest a pre-Aurignacian dispersal of modern humans to Italy byw45000 cal BP. They are consistent with the importance of the Danube Corridor as a key route for the movement of people and ideas. The new dates fail to refute the Kulturpumpe model and suggest that Swabian Jura is a region that contributed signi?cantly to the evolution of symbolic behaviour as indicated by early evidence for ?gurative art, music and mythical imagery. © 2012 Elsevier Ltd. All rights reserved.

Marie Sallé, Handel, Rameau and the development of narrative dance music:Bericht vom Internationalen Symposium an der Hochschule fur Musik und Theater Leipzig

Paradigmatic analysis reveals that these two composers developed distinct responses to creating narrative in dance music