Lumbar discography.

Mode of access: Internet.

The complete entertainment discography, from the mid-1890s to 1942

Mode of access: Internet.

The American dance band discography 1917-1942 /

Includes index.

Magnetic resonance imaging findings of disc-related epidural cysts in nonsurgical and postoperative microdiscectomy patients

OBJECTIVE: To demonstrate five discal cysts with detailed magnetic resonance imaging findings in nonsurgical and following postoperative microdiscectomy. MATERIALS AND METHODS: Five discal cysts in four patients who underwent magnetic resonance imaging were found through a search in our database and referral from a single orthopedic spine surgeon. Computed tomography in two cases and computed tomography discography in one case were also performed. RESULTS: Five discal cysts were present in four patients. Three patients had no history of previous lumbar surgery and the other patient presented with two discal cysts and recurrent symptoms after partial laminectomy and microdiscectomy. All were oval shaped and seated in the anterior epidural space. Four were ventrolateral, and the other one was centrally positioned in the anterior spinal canal. One showed continuity with the central disc following discography. Three were surgically removed. CONCLUSION: Magnetic resonance imaging can easily depict an epidural cyst and the diagnosis of a discal cyst should be raised when an homogeneous ventrolateral epidural cyst contiguous to a mild degenerated disc is identified.

Indústria cultural e forró eletrônico no Rio Grande do Norte

The present study aimed to understand how and to what extent the electronic forró, currently hegemonic in the music market in the state of Rio Grande do Norte, establishes and maintains relations of domination in the social contexts in which it is produced, transmitted and received. Based, in significant form-content, on the writings of the first generation of theorists of the so-called Frankfurt School (Critical Theory), particularly with Theodor W. Adorno, and systematically using the contributions of the Cultural Studies (from the Centre for Contemporary Cultural Studies of Birmingham) and of the sociology of Pierre Bourdieu, this study aimed to perform, in the fertile intersection of these references, a critical possibility of interpretation of the electronic forró predominantly spread in the state of Rio Grande do Norte. To this end, aiming at a better apprehension of the so-called capital circuits/culture circuits , this study resulted from a qualitative investment of research, based on structured interviews with musicians, entrepreneurs of the sector and music consumers, as well as on the analysis of the themes contained in the official discography of the electronic forró band called Garota Safada (Shameless Girl). As a general empirical conclusion, it was possible to infer that far from the significant presence of domination or mere prevalence of oppositions, there is a relational pluralism of forms of domination and ways of resistances present in the production and consumption of electronic forró, regardless of gender, age, income, education or place of residence. However, the artifices of the cultural industry has been shown to be efficient: from large-scale businessmen to small producers enabled by the so-called open markets . The currentness of the concept of cultural industry is based on the idea that its products are offered systematically (the systematic insistence of everything to everyone) and on the notion that its production primarily meets the administrative criteria of control over the effects on the receiver (capacity of prescription of desires). Thus, the Adornian reflection on the pseudo-individualization leads to the inference that even in some of the most apparent ways of negotiation and/or refusal regarding the consumption of forró, certain behaviors of the cultural industry still prevail both in the very (re)interpretation of the forró and in the choice of other music genres also standardized, rationalized and massified. Therefore, despite the absence of cause-effect relation and the recognition of the popular capacity of re-elaboration and contestation of the media consumption, some world views prevailing in relation to the electronic forró establish or, at least, support some hegemonic ideologies, especially those concerning the life style, consumption and genre relations (fun by all means). Therefore, due the massification of certain songs, some ways of dissemination of values, beliefs and feelings are potentially experienced from the electronic forró. So, it is presumable that in the current advance of the process of semiformation (Halbbildung), the habitus of a part of the youth from the state of Rio Grande do Norte reinforces and is reinforced by the centrality of the trinomial fun, love and sex present in the songs, emphasized in some constructive practices of sense and in certain flows of social significance

Clara Nunes como obra de arte: a epistemologia das ciências humanas a partir da cultura musical

The thesis has its largest array in the reorganization of science that is built from the middle of the last century and its horizon reconnection between scientific culture and humanistic culture, and the dialogue between science, art and literature. This epistemological regeneration view of the scientific paradigm incorporates the poetic language and sociological analysis, and brings out a complex, open and transdisciplinary narrative. To undertake this exercise as interlocutors we have thinkers like Nietzsche, Lévi-Strauss, Edgar Morin and Bruno Latour, to name a few, and as a reference for analyzing the entire artistic production of one of the icons of Brazilian music, Clara Nunes. It is problematized up in this work, through the singer s discography, lyrics and fragments of her biography, the construction of a social character that politicized culture, increased the mestizo consciousness of popular imagery, and exceeded the excessively prosaic narratives of the academic and scientific culture. The central argument of the thesis recognizes a Hybrid Subject Clara Nunes, as indeed is what is expected of the politically engaged intellectual in the 21st century

“Brasil mostra a tua cara”: rock nacional, mídia e a redemocratização política (1982-1989)

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Laurindo Almeida: dos trilhos de Miracatu às trilhas em Hollywood

Pós-graduação em Música - IA

Opção ou desconhecimento?: panorama da prática interpretativa ligada ao repertório vocal existente no Brasil de 1730 a 1850, sob o ponto de vista do registro fonográfico brasileiro realizado entre 1957 e 2005

Pós-graduação em Música - IA

Identidade e reconhecimento na cultura de rua

Direct descendant of the music of the Black Atlantic, hip hop became the spokesman of excluded minorities, for example setting up of the reunification that is geographically separated through communication. The hip hop appropriated new forms of mass communication, allowing the reworking of the story through a counter-hegemonic discourse that seeks self-knowledge and appreciation of the roots of black people. The street culture is the narrative of disenfranchised youth, generating narrative of inclusion, which gave a space of enunciation periphery enabling them to intersubjective recognition. This project aims to discuss the role of hip hop as an agent conscientizing youth peripherals in order to bring to the debate the form of identity construction around the peripheral street culture since, as an intervention that acts as a symbolic system guiding cultural practices and attitudes of these young people. Methodologically, we analyzed specific bibliographical about hip hop and literature originating from the periphery itself. Selected discography of some rap groups. They are Racionais Mc's, 509-E and DJ Hum and Thaíde that constitute the vanguard of hip hop in Brazil. We use music from rapper Emicida this while some contemporary exponents of rap, with national and international. State of São Paulo in order to demonstrate that there is similarity between the questions proposed by the hip hop and the interior of the capital, the group selected Survey. We have used also press material, raising the issue in research on the internet, periodicals include the Rolling Stones and Caros Amigos

I concerti per due violini di Vivaldi (con edizione di RV 513, 521, 528, 764 e ricostruzione di RV 520, 526)

In the whole of Europe the most important composer of concertos for two violins is indubitably Vivaldi (1678-1741), who produced almost thirty works of this type during almost the full length of his creative career. The dissertation examines this particular side of Vivaldi’s activity, starting with an examination of the concerto in Rome, Bologna, and Venice at the turn of the seventeenth and eighteenth centuries. The aspects investigated include the ‘conceptual’ origins of the double concerto for two violins in Vivaldi, the nature, distribution and interrelationship of their sources (particular attention being given to compositional revisions in the autograph manuscripts) and an analysis of the works themselves that takes in form, tonal structure, technical-instrumental character and performance practice. The concertos that have come down in particularly problematic non-autograph sources are discussed in detail and presented in critical editions. A reconstruction is offered of the two works (RV 520 and 526) that have survived only in incomplete form, lacking the part of the first soloist. The concertos for two violins composed in Germany by Telemann and J. S. Bach, the contemporaries of Vivaldi who paid greatest attention to the double concerto genre, are then described and analysed. The thesis ends with a complete list of modern editions of Vivaldi’s concertos for two violins and a select discography.

The role of central hypersensitivity in the determination of intradiscal mechanical hyperalgesia in discogenic pain

OBJECTIVE: The primary aim of the present study was to investigate whether there is a relationship between central hypersensitivity (assessed by pressure pain thresholds of uninjured tissues) and intradiscal pain threshold during discography. The secondary aim was to test the hypothesis that peripheral noxious stimulation dynamically modulates central hypersensitivity. PATIENTS: Twenty-four patients with positive provocation discography were tested for central hypersensitivity by pressure algometry before and after the intervention with assessments of pressure pain detection and tolerance thresholds. Intradiscal pain threshold was assessed by measuring intradiscal pressure at the moment of pain provocation during discography. Correlation analyses between intradiscal pain threshold and pressure algometry were made. For the secondary aim, pressure algometry data before and after discography were compared. RESULTS: Significant correlation with intradiscal pain threshold was found for pressure pain detection threshold at the toe (regression coefficient: 0.03, P = 0.05) and pressure pain tolerance thresholds at the nonpainful point at the back (0.02, P = 0.024). Tolerance threshold at the toe was a significant predictor for intradiscal pain threshold only in multiple linear regression (0.036, P = 0.027). Detection as well as tolerance thresholds significantly decreased after discography at the painful and the nonpainful point at the back, but not at the toe. CONCLUSIONS: Central hypersensitivity may influence intradiscal pain threshold, but with a modest quantitative impact. The diagnostic value of provocation discography is therefore not substantially impaired. Regional, but not generalized central hypersensitivity is dynamically modulated by ongoing peripheral nociceptive input.

The transpedicular approach as an alternative route for intervertebral disc regeneration

STUDY DESIGN Descriptive anatomical study on ovine and human cadaveric lumbar spinal segments. OBJECTIVE To describe the alternative transpedicular approach to deliver therapeutic agents into intervertebral disc (IVD). SUMMARY OF BACKGROUND DATA The present delivery approach of therapeutic agents (growth factors/cells/hydrogels) within the IVD is through injection, via the annulus fibrosus (AF). However, it has recently been demonstrated that small needle puncture of the AF leads to further degeneration and disc herniation. In addition, the injected material has a high chance to be extruded through the AF injury. METHODS Lumbar ovine and human spinal segments were used. Under fluoroscopy, a 2-mm Kirschner wire was introduced in the caudal vertebra through the pedicle and the inferior endplate to the nucleus pulposus. Gross anatomy analysis and high-resolution peripheral quantitative computed tomography (HR-pQCT) were performed to assess the right position of the wire in pedicles. Discography and nucleotomy were performed using a 14G cannula insertion or a 2-mm arthroscopic shaver blade, respectively. Nucleoplasty was also performed with agarose gel/contrast agent and imaged with HR-pQCT. RESULTS Gross anatomy, fluoroscopy, and HR-pQCT images showed that the nucleus pulposus could be approached through the endplate via the pedicle without affecting the spinal canal and the neural foramina. The contrast agent was delivered into the IVD and nucleus pulposus was removed from the disc and filled with agarose gel. CONCLUSION This study describes how a transpedicular approach can be used as an alternative route to deliver therapeutic agents to the disc without disruption of the AF showing the potential use of this technique in preclinical research and highlighting its clinical relevance for IVD regeneration.

Further evaluation of an EMG technique for assessment of the deep cervical flexor muscles

A novel surface electromyographic (EMG) technique was recently described for the detection of deep cervical flexor muscle activity. Further investigation of this technique is warranted to ensure EMG activity from neighbouring muscles is not markedly influencing the signals recorded. This study compared deep cervical flexor (DCF) muscle activity with the activity of surrounding neck and jaw muscles during various anatomical movements of the neck and jaw in 10 volunteer subjects. DCF EMG activity was recorded with custom electrodes inserted via the nose and fixed by suction to the posterior mucosa of the oropharynx. Surface electrodes were placed over the sternocleidomastoid, anterior scalene, masseter and suprahyoid muscles. Positioned in supine, subjects performed isometric cranio-cervical flexion, cervical flexion, right and left cervical rotation,jaw clench and resisted jaw opening. Across all movements examined, EMG amplitude of the DCF muscles was greatest during neck movements that would require activity of the DCF muscles, particularly during cranio-cervical flexion, their primary anatomical action. The actions of jaw clench and resisted jaw opening demonstrated significantly less DCF EMG activity than the cranio-cervical flexion action (p < 0.05). Across all other movements, the neighbouring neck and jaw muscles demonstrated greatest EMG amplitude during their respective primary anatomical actions, which occurred in the absence of increased EMG amplitude recorded from the DCF muscles. The finding of substantial EMG activity of the DCF muscles only during neck actions that would require their activity, particularly cranio-cervical flexion, and not during actions involving the jaw, provide further assurance that the majority of myoelectric signals detected from the nasopharyngeal electrode are from the DCF muscles. (C) 2005 Elsevier Ltd. All rights reserved.

Música, igreja e juventude: Um estudo comparativo dos Vencedores por Cristo (anos 1970) e Ministério de Louvor Diante do Trono (anos 2000

Este texto é uma apresentação da pesquisa que fizemos sobre a música cristã protestante brasileira de duas décadas, representadas respectivamente, por dois grupos musicais diferentes. A década de 1970 é analisada a partir dos cânticos gravados pelo grupo musical Vencedores por Cristo. Para o estudo da década de 2000 escolhemos o Ministério de Louvor Diante do Trono, cuja discografia é atualmente consumida em quase todas as igrejas evangélicas do País, tendo sido objeto de contrato com a Som Livre, gravadora da Rede Globo de Televisão. A meta estabelecida para a investigação foi a de comparar os diferentes tipos de cânticos, de letras, e de contexto, ressaltando-se que o gosto musical dos evangélicos, tanto dos produtores como dos consumidores, sofreram mudanças significativas ao longo de três décadas. Por meio da pesquisa percebemos que as finalidades do cântico dos jovens evangélicos evoluíram do proselitismo para uma inserção no circuito das celebridades, dos megashows, e da formação de um mercado evangélico, cuja abrangência vai além dos produtos musicais (discos, CDs ou DVDs), para incluir outros produtos recomendados ou usados por membros ou liderança da banda musical ancorada no fenômeno da megachurch que é a Igreja Batista da Lagoinha.