CHARACTERISTICS OF ANODIC AND CORROSION FILMS ON ZIRCONIUM

Zirconium anodizes similarly to tungsten in respect to the change of interference colors with applied voltage. However, the oxide layer on tungsten cannot reach as great a thickness. Hafnium does not anodize in the same way as zirconium but is similar to tantalum. By measuring the interference color and capacitative thicknesses on zirconium (Grades I and III) and a 2.5 wt.% tin ailoy, the film was found to grow less rapidly in terms of capacitance than in terms of iaterference colors. This was interpreted to mean that cracks develop in the oxide as it thickens. The effect was most pronounced on Grade III zirconium and least pronounced on the tin alloy. The reduction in capacitative thickness was especially noticeable when white oxide appeared. Comparative measurements on Grade I zirconium and 2.5 wt.% tin alloy indicated that the thickness of the oxide film on the tin alloy (after 16 hours in water) increased more rapidly with temperature than the film on zirconium. Tin is believed to act in ways to counteract the tendency of the oxide to form cracks, and to produce vacancies which promote ionic diffusion. (auth

„Ohne Musik, dann kannst du mich sofort in die Anstalt schicken!“ - Musizieren im Erwachsenenalter. Eine empirische Studie mit Laienmusikern zur Praxis des Kammermusizierens ab 55 Jahren

Analog der demografischen Entwicklung und ihrer öffentlichen Wahrnehmung, wurde der ältere Mensch seit den 1950er Jahren zunehmend als Weiter-Lernender betrachtet (vgl. Kehrer 1952; Veelken 2000; Arnold 2000). Auch musikalisches Lernen wurde, nachweislich seit 1980, mit Gerontologie (Davidson 1980), in der musikpädagogischen Reflexion (Grunenberg 1984 als „musikalische Späterziehung“) und schließlich seit 2005 (Hartogh) als Disziplin Musikgeragogik fokussiert. Zu den bisherigen Untersuchungen allgemeinen musikalischen Lernens im Erwachsenenalter, ergänzt die vorliegende Studie den Aspekt des spezifisch kammermusikalischen Lernens bzw. Praktizierens. Im Rahmen eines Musizier- und Begegnungswochenendes an der Hochschule für Musik Detmold Ende 2015, wurden aktive Laienmusiker und –musikerinnen (N=19) in ca. 40minütigen Leitfadeninterviews explorativ zu Musizierpraxis, Unterricht, Angebotswünschen, Bedeutungszuweisungen, Musikpräferenzen, Mitmusizierenden, Investitionsbereitschaft und Hürden befragt. Auffallend zeigte sich die enorme Individualität der Laienmusikerinnen und –musiker sowohl in ihren Motiven, als auch in ihrem Leistungsanspruch und den damit zusammenhängenden Herangehensweisen an ihr Hobby. Der Großteil der Befragten erhielt regelmäßig Unterricht (n=14; wöchentlich n=11), sowohl an einer Musikschule (n=7) als auch privat (n=7). Überrascht hat die Anzahl der Instrumente (bis zu sieben), die von manchen Laien gespielt werden. Fast ein Drittel (n=5) spielte zum Zeitpunkt der Befragung mehr als ein Instrument, fast die Hälfte (n=8) hatte bereits mit mehr als zwei zuvor erlernten Instrumenten wieder aufgehört. Die jeweilige Kammermusikpraxis, das verwendete Notenmaterial, Auftritte und Ängste, die persönliche Bedeutung des Musizierens, persönliche Ziele, die Selbsteinschätzung der Befragten und weitere Aspekte kammermusikalischen Musizierens erwachsener Laienmusiker werden in dieser Studie mit zahlreichen Interviewzitaten vorgestellt und fügen einen bisher nicht beachteten Blickwinkel der Musikgeragogik auf die mannigfaltige Szene der Kammermusikpraxis im Erwachsenenalter hinzu.In line with demographic developments and public perception of them, since the 1950s older people have increasingly been regarded as continuing learners (cf. Kehrer 1952; Veelken 2000; Arnold 2000). Musical learning has also been focused on, demonstrably since 1980, with Gerontology (Davidson 1980), in music pedagogical reflection (Grunenberg 1984 as "musical later education") and finally since 2005 (Hartogh) as the discipline of music geragogy. In addition to previous studies of general musical learning in adulthood, this study complements the aspect of specific chamber music learning and practice. During a music-making and encounter weekend at the Hochschule für Musik Detmold at the end of 2015, active amateur musicians (N=19) were interviewed in approximately 40-minute guided interviews exploring music-making practice, teaching, requests for offerings, allocation of meaning, music preferences, fellow musicians, willingness to invest and obstacles. The enormous individuality of the amateur musicians was conspicuous in their motives as well as in their performance demands and the related approaches to their hobby. The majority of the respondents received regular lessons (n=14; weekly n=11), both at a music school (n=7) and privately (n=7). The number of instruments (up to seven) played by some laypersons was surprising. Almost a third (n=5) played more than one instrument at the time of the survey, and almost half (n=8) had already stopped playing more than two previously learned instruments. The respective chamber music practice, the sheet music material used, performances and fears, the personal significance of making music, personal goals, the self-assessment of the respondents and other aspects of chamber music making by adult amateur musicians are presented in this study with numerous interview quotes and add a hitherto neglected perspective of music education on the diverse scene of chamber music practice in adulthood

Musikalische Hochbegabung - Kriterien und Maßstäbe aus der musikalischen Praxis. Eine empirische Studie

Die Frage „Was ist (musikalische) Hochbegabung?“ ist bereits mehrfach im wissenschaftlichen Diskurs gestellt und sowohl mit qualitativen als auch quantitativen Methoden erforscht worden. Bis dato wurden jedoch die Erfahrungswerte von Instrumentallehrern hochleistender Kinder- und Jugendlicher nicht genutzt. Mithilfe leitfadengestützter Experteninterviews am Musikgymnasium Schloss Belvedere, „Hochbegabtenzentrum“ der Hochschule für Musik „Franz Liszt“ Weimar, werden in der folgenden Studie Lehrende (N=11) mit jahrzehntelanger Erfahrung, sowohl im Unterrichten musikalisch Hochbegabter als auch im Einschätzen von Leistungen bei Aufnahmeprüfungen und Wettbewerben, zu konkreten Einzelparametern ihrer persönlichen Theorie musikalischer Hochbegabung befragt. Damit leistet die Studie einen Beitrag zur Versachlichung der Diskussion über Begabung in der Musik. Die Ergebnisse der qualitativen Interviews sind in fünf Hauptkategorien mit ggf. differenzierenden Unterkategorien gegliedert: außermusikalische Persönlichkeitsfaktoren (Selbstbild, Selbstpräsentation, Willenseigenschaften, Empfindsamkeit, Temperament), weitere außermusikalische Parameter (Motorik, Sozialverhalten, Intelligenz), Motivation Musik, altersüberdurchschnittliche Musikdarbietung (Instrumentaltechnik, Rhythmus, Musikalität, Ausdruck und Leidenschaft, Hörfähigkeit) sowie Begabung oder Fleiß. Die erhobenen Praxistheorien der Experten scheinen sich in manchen Details zu widersprechen, zeigen musikalische Hochbegabung aber insgesamt betrachtet durchgehend als einen multifaktoriellen Komplex, der sich in Verbindung mit den individuellen Persönlichkeiten sehr unterschiedlich ausprägt. Einzelfaktoren sind beispielsweise starke Selbstkritik, ein durch Leistung bestimmtes Selbstbild, ein hohes Präsentationsbedürfnis und „gesunder Ehrgeiz“. Zielstrebigkeit, Fleiß und Wille sowie Konzentrationsfähigkeit werden von den Experten bei als „hochbegabt“ bezeichneten Kindern und Jugendlichen sowohl beobachtet, als auch als unverzichtbar für die optimale Entwicklung des bereits gezeigten Potenzials in der Zukunft angesehen. Weiterhin nennen die Experten die Entwicklung von Gefühlstiefe, den Ausdruckswillen bzw. das Temperament, die Motorik und die Liebe bzw. Hingabe zur Musik und zum Instrument. Eine hohe soziale Flexibilität (z. B. viel alleine üben, aber mit anderen proben), Empathie, divergierendes Konkurrenzempfinden, wache Wahrnehmung, eine hohe Lerngeschwindigkeit und Intelligenz, eine umfassende Kreativität (z. B. eigene Gestaltung/Interpretation), große Motivation und einen starken Willen beobachten die Experten ebenfalls immer wieder bei solchen Schülern. Ein besonders starkes Bedürfnis nach Musik bzw. musikalischen Ausdrucksweisen sowie altersüberdurchschnittliches Interesse an Musik ist für manche Experten der entscheidende Unterschied zwischen „musikalischen“ und „musikalisch hochbegabten“ Kindern. Einen entscheidenden Hinweis und willkommene Bestätigung ihrer Prognose musikalischer Hochbegabung sehen die Experten in der altersüberdurchschnittlichen Leistung, die Kinder und Jugendliche beispielsweise bei Wettbewerben erbringen. Einzelne konkrete Erwartungen der Experten an die Instrumentaltechnik, die Werkauswahl und eine musikalische Darbietung von 10- und 16jährigen musikalisch Hochbegabten stellt die Studie in eigenen Tabellen zusammen. Dem Phänomen des sogenannten Absoluten Gehörs messen die Befragten keine große Bedeutung bei. Außerdem betont ein Großteil der Befragten die Multifaktorialität (musikalischer) Hochbegabung und die damit einhergehende Bedeutungslosigkeit von Einzelparametern. Fleiß (und die daraus folgende Expertise) wird in der Praxistheorie der meisten befragten Experten als entscheidend für die weitere musikalische Laufbahn genannt. Im musikalischen Ausdruck einer Darbietung ist nach Aussage einzelner Experten jedoch der Unterschied zwischen „reinem Fleiß“ und „(Hoch-) Begabung“ zu erkennen. Zur zahlenmäßigen Verteilung von „Hochbegabten“, „Fleißarbeitern“ und „Überforderten“ an der eigenen Institution gibt es z. T. grundverschiedene Ansichten.What exactly is giftedness in music? This question is frequently raised in scientific discourse and has been answered in part by qualitative and quantitative research. In the past, however, the empirical experience of music teachers of highly skilled children and young people has not been given its due consideration. This study involved music teachers (N=11) at the Schloss Belvedere School of Music, the centre for highly gifted children of the Franz Liszt University of Music in Weimar, who have decades of experience in teaching musically highly gifted children and evaluating performances in entrance exams and competitions. They were asked in detail about concrete aspects of their personal theories of giftedness in music. This study seeks thus to contribute to an objective debate about giftedness in music. The results of the qualitative interviews are divided into five main categories, which are in turn split into subcategories, as appropriate. The categories are non-musical personality-related factors (such as self-image, self presentation, traits of volition, sensitivity, temperament), further non-musical parameters (such as motor skills, social behavior, intelligence), music motivation, above-average musical performance for their age (technique, rhythm, musicality, expression and passion, auditory ability) as well as talent and diligence. The various personal theories of the experts gleaned from observation and recorded in this survey may seem to contradict each other in some details, but taken as a whole they show giftedness in music as multi-factor complex that develops very differently in conjunction with individual personalities. Single factors are, for example, strong self-criticism, a self-perception based on performance, a pronounced need for presentation and “healthy ambition”. Single-mindedness, diligence and will plus an ability to concentrate are qualities that are observed by experts among children and adolescents identified as “highly gifted” and indeed considered essential for the ideal ongoing development of acknowledged potential. Other significant qualities listed by the experts are the development of emotional depth, the will to express or temperament, motor skills and a love of or devotion to music and their instrument. A high degree of social flexibility (e.g. to practice alone a lot but also “know” how to rehearse with others), empathy, a diverging sense of competition, good perceptive skills, high intelligence and speed of learning, broad creativity (e.g. own expression/interpretations), a high level of motivation and a strong will are also consistently observed by the experts among such students. A particularly pronounced need for music and musical expression, plus an above-average interest in music for their age, is for some experts the crucial difference between children who are just “musical” and these who are “musically highly gifted”. The experts see children and youth performing at an above-average level for their age, such as in competitions, as crucial evidence and validation of their prognosis of giftedness in music. This research collates individual, precise expert expectations with respect to instrumental technique, level of selected works and musical performance of musically highly gifted 10- and 16-year-olds in tabular form. The phenomenon of “perfect pitch” is only marginally significant for respondents. Furthermore a majority of respondents emphasize the multiplicity of factors that make up musical giftedness and consequently the irrelevance of individual parameters. The experts name diligence (and the resulting expertise) as a crucial factor for a further career in music. According to individual experts, only aspects of musical expression of a performance let one recognize a difference between “sheer diligence” and “outstanding talent”. The experts have very different views, however, about the spread of numbers of “highly gifted talents”, “diligent hard workers” and the “overstretched” at their own school

Structural disorder, magnetism, and electrical and thermoelectric properties of pyrochlore Nd2Ru2O7

Polycrystalline Nd2Ru2O7 samples have been prepared and examined using a combination of structural, magnetic, and electrical and thermal transport studies. Analysis of synchrotron X-ray and neutron diffraction patterns suggests some site disorder on the A-site in the pyrochlore sublattice: Ru substitutes on the Nd-site up to 7.0(3)%, regardless of the different preparative conditions explored. Intrinsic magnetic and electrical transport properties have been measured. Ru 4d spins order antiferromagnetically at 143 K as seen both in susceptibility and specific heat, and there is a corresponding change in the electrical resistivity behaviour. A second antiferromagnetic ordering transition seen below 10 K is attributed to ordering of Nd 4f spins. Nd2Ru2O7 is an electrical insulator, and this behaviour is believed to be independent of the Ru-antisite disorder on the Nd site. The electrical properties of Nd2Ru2O7 are presented in the light of data published on all A2Ru2O7 pyrochlores, and we emphasize the special structural role that Bi3+ ions on the A-site play in driving metallic behaviour. High-temperature thermoelectric properties have also been measured. When considered in the context of known thermoelectric materials with useful figures-of-merit, it is clear that Nd2Ru2O7 has excessively high electrical resistivity which prevents it from being an effective thermoelectric. A method for screening candidate thermoelectrics is suggested.Comment: 19 pages, 10 figure

The Beta Problem: A Study of Abell 262

We present an investigation of the dynamical state of the cluster A262. Existing optical line of sight velocities for select cluster galaxies have been augmented by new data obtained with the Automated Multi-Object Spectrograph at Lick Observatory. We find evidence for a virialized early-type population distinct from a late-type population infalling from the Pisces-Perseus supercluster ridge. We also report on a tertiary population of low luminosity galaxies whose velocity dispersion distinguishes them from both the early and late-type galaxies. We supplement our investigation with an analysis of archival X-ray data. A temperature is determined using ASCA GIS data and a gas profile is derived from ROSAT HRI data. The increased statistics of our sample results in a picture of A262 with significant differences from earlier work. A previously proposed solution to the "beta-problem" in A262 in which the gas temperature is significantly higher than the galaxy temperature is shown to result from using too low a velocity dispersion for the early-type galaxies. Our data present a consistent picture of A262 in which there is no "beta-problem", and the gas and galaxy temperature are roughly comparable. There is no longer any requirement for extensive galaxy-gas feedback to drastically overheat the gas with respect to the galaxies. We also demonstrate that entropy-floor models can explain the recent discovery that the beta values determined by cluster gas and the cluster core radii are correlated.Comment: 31 pages, 14 figures, AAS LaTeX v5.0, Encapsulated Postscript figures, to be published in The Astrophysical Journa

Survival of dental implants in patients with oral cancer treated by surgery and radiotherapy: a retrospective study

BACKGROUND: The aim of this retrospective study was to evaluate the survival of dental implants placed after ablative surgery, in patients affected by oral cancer treated with or without radiotherapy. METHODS: We collected data for 34 subjects (22 females, 12 males; mean age: 51 ± 19) with malignant oral tumors who had been treated with ablative surgery and received dental implant rehabilitation between 2007 and 2012. Postoperative radiation therapy (less than 50 Gy) was delivered before implant placement in 12 patients. A total of 144 titanium implants were placed, at a minimum interval of 12 months, in irradiated and non-irradiated residual bone. RESULTS: Implant loss was dependent on the position and location of the implants (P = 0.05-0.1). Moreover, implant survival was dependent on whether the patient had received radiotherapy. This result was highly statistically significant (P < 0.01). Whether the implant was loaded is another highly significant (P < 0.01) factor determinin

Hard and Soft Tissue Changes After Crestal and Subcrestal Immediate Implant Placement

Peer Reviewedhttps://deepblue.lib.umich.edu/bitstream/2027.42/141272/1/jper1112.pd

Human TLR1 Deficiency Is Associated with Impaired Mycobacterial Signaling and Protection from Leprosy Reversal Reaction

Toll-like receptors (TLRs) are important regulators of the innate immune response to pathogens, including Mycobacterium leprae, which is recognized by TLR1/2 heterodimers. We previously identified a transmembrane domain polymorphism, TLR1_T1805G, that encodes an isoleucine to serine substitution and is associated with impaired signaling. We hypothesized that this TLR1 SNP regulates the innate immune response and susceptibility to leprosy. In HEK293 cells transfected with the 1805T or 1805G variant and stimulated with extracts of M. leprae, NF-κB activity was impaired in cells with the 1805G polymorphism. We next stimulated PBMCs from individuals with different genotypes for this SNP and found that 1805GG individuals had significantly reduced cytokine responses to both whole irradiated M. leprae and cell wall extracts. To investigate whether TLR1 variation is associated with clinical presentations of leprosy or leprosy immune reactions, we examined 933 Nepalese leprosy patients, including 238 with reversal reaction (RR), an immune reaction characterized by a Th1 T cell cytokine response. We found that the 1805G allele was associated with protection from RR with an odds ratio (OR) of 0.51 (95% CI 0.29–0.87, p = 0.01). Individuals with 1805 genotypes GG or TG also had a reduced risk of RR in comparison to genotype TT with an OR of 0.55 (95% CI 0.31–0.97, p = 0.04). To our knowledge, this is the first association of TLR1 with a Th1-mediated immune response. Our findings suggest that TLR1 deficiency influences adaptive immunity during leprosy infection to affect clinical manifestations such as nerve damage and disability