Baltic winter (amped folk instruments-ethereal and haunting with female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter (beautiful ethereal sweeping music with haunting female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter (under 1 minute haunting female vocals and ethereal)

Baltic Winter Shorts 02 - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter (under 1 minute haunting female vocals and ethereal)

Baltic Winter Short 01 - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter 42 seconds ethereal sweeping and haunting with female vocals

Baltic Winter Shorts 03 - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Baltic winter ethereal cinematic and haunting

Baltic Winter (No Vocals - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, percussion, and a couple of synths.

Bansuri flute stinger INDIA

A short composition featuring an Indian bansuri flute, percussion and a soft synth pad.

Antigenicity of Primary Endodontic Infection against Macrophages by the Levels of PGE(2) Production

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Correlation between Clinical/Radiographic Features and Inflammatory Cytokine Networks Produced by Macrophages Stimulated with Endodontic Content

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Toothache referred from auriculotemporal neuralgia: case report

P>AimTo present a 52-year-old male patient who complained of intense pain of short duration in the region of the left external ear and in the ipsilateral maxillary second molar that was relieved by blockade of the auriculotemporal nerve in the infratemporal fossa.SummaryExtra- and intraoral physical examination revealed a trigger point that reproduced the symptoms upon finger pressure in the ipsilateral auriculotemporal nerve and in the outer auricular pavilion. The patient's medical history was unremarkable. The maxillary left second molar tooth was not responsive to pulp sensitivity testing and there was no pain upon percussion or palpation of the buccal sulcus. Periapical radiographs revealed a satisfactory root filling in the maxillary left second molar. on the basis of the clinical signs and symptoms, the auriculotemporal was blocked with 0.5 mL 2% lidocaine and 0.5 mL of a suspension containing dexamethasone acetate (8 mg mL(-1)) and dexamethasone disodium sulfate (2 mg mL(-1)), with full remission of pain 6 months later. The diagnosis was auriculotemporal neuralgia.Key learning pointAuriculotemporal neuralgia should be considered as a possible cause of nonodontogenic toothache and thus included in the differential diagnoses.The blockade of the auriculotemporal nerve in the infratemporal fossa is diagnostic and therapeutic. It can be achieved with a solution of lidocaine and dexamethasone.

O uso idiomático dos instrumentos de percussão brasileiros: principais sistemas notacionais para o pandeiro brasileiro

This article adresses the idiomatic use of Brazilian percussion instruments and their notation on compositions. It uses the Brazilian "pandeiro", which is the principal instrument of this category, to make a technical and comparative analysis of the two main notational systems for this instrument, which are the models developed by Luiz D'Anunciacao and the other by Carlos Stasi. It also includes suggestions to help the development of this notation. It gives a list and description of several method books that could help percussionists, composers and arrangers to deepen their knowledge of Brazilian percussion.

Mixture of vitamin C, hesperidin and piperidol exposure in pregnancy: Maternal-fetal repercussions

To evaluate the reproductive performance and the development of their offspring on rat pregnancy. Wistar pregnant rats were gavaged with 0 mg/kg wb/day (control group, n = 20) and 166.5 mg/kg/day of a mixture of vitamin C, hesperidin and piperidol (experimental group, n = 20) during the organogenic period (from day 5 to 14 of pregnancy; positive vaginal smear = day 0). The female rats were killed on day 21 of pregnancy. The number of implantations, resorptions (dead embryos), and live/dead fetuses were counted for the analysis of the postimplantation loss rates. There was neither alteration in maternal reproductive performance, but it was verified an increase of the number of fetuses presenting dilated urether, hydronephrosis, and reduced ossification of skull due to the treatment of female rats with a mixture of vitamin C, hesperidin and piperidol, these abnormalities were considered transitory and may not interfere on offspring development. It was not verified other type of major malformation neither the appearance of fetuses presenting atrophy of upper limbs that it could be associated to use of this drug.

A percursão corporal como proposta de sensibilização musical para atores e estudantes de teatro

Pós-graduação em Música - IA

Proveniência de arenitos albianos (Grupo Itapecuru), borda leste da bacia de São Luís-Grajaú, Maranhão, usando análise de minerais pesados e química mineral

Depósitos albianos da bacia de São Luís-Grajaú, antigamente conhecidos apenas em subsuperfície como ‘Unidade Indiferenciada’ do Grupo Itapecuru, foram recentemente encontrados ao longo do rio Itapecuru, na parte leste desta bacia. São argilitos avermelhados, esverdeados a cinzas, arenitos estratificados e maciços e subordinadamente calcários, interpretados como depósitos de delta progradante para ENE/E e ESE e conectado a uma plataforma restrita. Para determinar a proveniência de arenitos albianos, foram coletadas 18 amostras para estudos de minerais pesados (fração 0,062-0,125 mm) usando-se microscópio petrográfico convencional e microscópio eletrônico de varredura. Os arenitos foram classificados como quartzo-arenito moderadamente a bem selecionado, cimentado por dolomita, cujos principais minerais pesados são zircão (4-70%), granada (12-74%), turmalina (3-20%), estaurolita (1-9%), rutilo (1-8%) e barita (0-55%), enquanto cianita, anatásio (autigênico), anfibólio (hornblenda), andaluzita, sillimanita, espinélio e ilmenita ocorrem raramente. A maioria dos grãos é irregular angulosa, mas grãos bem arredondados, particularmente de turmalina e zircão, também estão presentes. Texturas superficiais incluem fraturas conchoidais, marcas de percussão em V e pequenos buracos, estes últimos em grãos arredondados de turmalina e zircão, enquanto feições de corrosão estão principalmente presentes em barita (cavidades rômbicas), cianita, estaurolita (superfície mamilar) e granada (facetas bem formadas por dissolução). Grãos de zircão, com texturas de zoneamento oscilatório e razões U/Th ≥ 0,5 e Zr/Hf média de 29, indicam proveniência de granitos e migmatitos, enquanto os tipos de turmalina, determinados como dravita e shorlita, são oriundos, principalmente, de metapelitos e metapsamitos aluminosos e/ou pobres em Al, com menor contribuição de granitos e rochas meta-ultramáficas. As granadas, por sua vez, são ricas em almandina e têm baixos teores dos componentes de espessartita, grossulária e piropo. Suas fontes potenciais são rochas metamórficas de baixo a médio grau e granitos. Com base em análises de minerais pesados e progradação do sistema deltaico para ENE/E e ESE, as áreas mais prováveis como fontes potenciais de arenitos albianos são o cráton São Luís, os cinturões neoproterozóicos Araguaia e Gurupi, bem como a bacia paleozóica do Parnaíba, esta fornecendo sedimentos de grãos arredondados.

Avaliação clínica da sensibilidade pós-operatória em restaurações de resina compostas em dentes superiores: efeito da interposição do oxalato de potássio ou lonômero de vidro

Em virtude da grande incidência da sensibilidade pós-operatória em restaurações de resina composta em cavidades classe I (oclusal), esta pesquisa clínica objetivou avaliar a presença ou não de sensibilidade pós-operatória em restaurações de resina composta realizadas em cavidades padronizadas tipo classe I (oclusal), em pré-molares e molares, em pacientes com idade entre 18 e 35 anos, com interposição do oxalato de potássio ou ionômero de vidro previamente ao procedimento restaurador. Todos os procedimentos restauradores foram avaliados no período de 48 horas e sete dias através de relatos dirigidos pelo paciente e por relatos induzidos com teste térmicos, pressão e percussão referidos através da escala Analógica Visual. Resultados encontrados referiram não haver significância estatística, pois não houve relatos de sensibilidade pós-operatória em nenhum dos grupos estudados.