Maynooth Musicology: Postgraduate Journal

The aim of the Maynooth Musicology: Postgraduate Journal is twofold: it compiles a selection of articles written by postgraduate students in our department each year. It also affords up to three of our postgraduate students the valuable experience of editing their first journal, drawing on our joint professional work. This volume contains thirteen essays by postgraduate students reflecting current areas of specialism in the music department. Irish musical studies are addressed in articles by Adèle Commins, Jennifer O’Connor and Lisa Parker; Schubert studies are represented by Adam Cullen; nineteenth- and twentieth-century song studies are represented by Paul Higgins, Aisling Kenny and Meng Ren and Late European Romanticism by Jennifer Lee and Emer Nestor. Gender is addressed by Jennifer Halton and essays within the area of electro-acoustic music and music technology are contributed by Brian Bridges, Brian Carty and Barbara Dignam

Peer Assessment as a Teaching and Learning Process: The Observations and Reflections of Three Facilitators on a First-Year Undergraduate Critical Skills Module

This article reflects on the experiences and observations of three facilitators as they facilitated first-year undergraduate students in a peer assessment exercise. The peer assessment exercise in question is an integral part of the new Critical Skills module developed by Maynooth University and the focus of this article is on the facilitators’ reflections of how this assessment approach succeeded in terms of intended and unintended learning outcomes. The learning outcomes are explored using four categories developed by Boud, Cohen and Sampson (1999) – Team-work and Collaboration; Critical Enquiry; Communication Skills and Learning to Learn. The article also includes reflections on certain challenges and concerns that arose and bear consideration when adopting peer assessment as a teaching and learning strategy

The 35S U5 snRNP is generated from the activated spliceosome during In vitro splicing

Primary gene transcripts of eukaryotes contain introns, which are removed during processing by splicing machinery. Biochemical studies In vitro have identified a specific pathway in which introns are recognised and spliced out. This occurs by progressive formation of spliceosomal complexes designated as E, A, B, and C. The composition and structure of these spliceosomal conformations have been characterised in many detail. In contrast, transitions between the complexes and the intermediates of these reactions are currently less clear. We have previously isolated a novel 35S U5 snRNP from HeLa nuclear extracts. The protein composition of this particle differed from the canonical 20S U5 snRNPs but was remarkably similar to the activated B* spliceosomes. Based on this observation we have proposed a hypothesis that 35S U5 snRNPs represent a dissociation product of the spliceosome after both transesterification reactions are completed. Here we provide experimental evidence that 35S U5 snRNPs are generated from the activated B* spliceosomes during In vitro splicing

Post-diagnosis weight gain and breast cancer recurrence in women with early stage breast cancer

To examine whether weight gain after diagnosis of breast cancer affects the risk of breast cancer recurrence. Patients included 3215 women diagnosed with early stage breast cancer (Stage I > 1 cm., II, and IIIA) who were enrolled either in an observational cohort of breast cancer survivors or were part of the comparison group of a dietary intervention trial to prevent breast cancer recurrence. We computed weight change from 1 year prior to diagnosis to study enrollment. Delayed entry Cox proportional hazards models were used to evaluate associations of categories of weight change with time to recurrence, controlling for known prognostic factors. Neither moderate (5-10%) nor large (> 10%) weight gain (HR 0.8, 95% CI, 0.6-1.1; HR 0.9, 95% CI, 0.7-1.2, respectively) after breast cancer diagnosis was associated with an increased risk of breast cancer recurrence in the early years post-diagnosis (median time of 73.7 months from diagnosis). Our research provides evidence that weight gain commonly seen in the first several years following a breast cancer diagnosis does not increase a woman's risk for breast cancer recurrence in the first 5-7 years post-diagnosis. However, this research does not address the effects of weight gain on overall survival or on the risk of other new cancers, other prognostic outcomes of concern to the breast cancer survivor

Interaction of the chromatin remodeling protein hINO80 with DNA

The presence of a highly conserved DNA binding domain in INO80 subfamily predicted that INO80 directly interacts with DNA and we demonstrated its DNA binding activity in vitro. Here we report the consensus motif recognized by the DBINO domain identified by SELEX method and demonstrate the specific interaction of INO80 with the consensus motif. We show that INO80 significantly down regulates the reporter gene expression through its binding motif, and the repression is dependent on the presence of INO80 but not YY1 in the cell. The interaction is lost if specific residues within the consensus motif are altered. We identify a large number of potential target sites of INO80 in the human genome through in silico analysis that can grouped into three classes; sites that contain the recognition sequence for INO80 and YY1, only YY1 and only INO80. We demonstrate the binding of INO80 to a representative set of sites in HEK cells and the correlated repressive histone modifications around the binding motif. In the light of the role of INO80 in homeotic gene regulation in Drosophila as an Enhancer of trithorax and polycomb protein (ETP) that can modify the effect of both repressive complexes like polycomb as well as the activating complex like trithorax, it remains to be seen if INO80 can act as a recruiter of chromatin modifying complexes

The Development of a Combinational Model for the Analysis of Acousmatic Music

Since the publication of Pierre Schaeffer’s Solfège in 1966 there have been many conflicting arguments with regard to both perception-based analysis theories and computational analytical methods.1 Debate has ensued regarding the problem of representation of information in acousmatic music and the development of a universal method of notation, where a score-format is paramount to the analysis of a work. In essence, acousmatic music exists as work for tape, created by the composer without a score or the employment of traditional instruments, and experienced by the listener through loudspeakers. Taking into account existing methods of scoring and the question of the use of traditional notation, this article will suggest that a written score is both unnecessary for the successful analysis of acousmatic music and invalid due to the exclusivity of its content and the relationship of its author to the actual work. It will argue that the search for a universal method of notation along with one absolute method of analysis is unattainable due to certain restraining factors. In examining the theory of perception, the article will demonstrate that human perception is an important basis for analysis and supersedes any notational concept. It will suggest, however, that a more inclusive consideration of all approaches is necessary. In conclusion, a combinational model which draws upon and develops existing analysis methodology (perceptual and computational) will be proposed

The Development of a Combinational Model for the Analysis of Acousmatic Music

Since the publication of Pierre Schaeffer’s Solfège in 1966 there have been many conflicting arguments with regard to both perception-based analysis theories and computational analytical methods.1 Debate has ensued regarding the problem of representation of information in acousmatic music and the development of a universal method of notation, where a score-format is paramount to the analysis of a work. In essence, acousmatic music exists as work for tape, created by the composer without a score or the employment of traditional instruments, and experienced by the listener through loudspeakers. Taking into account existing methods of scoring and the question of the use of traditional notation, this article will suggest that a written score is both unnecessary for the successful analysis of acousmatic music and invalid due to the exclusivity of its content and the relationship of its author to the actual work. It will argue that the search for a universal method of notation along with one absolute method of analysis is unattainable due to certain restraining factors. In examining the theory of perception, the article will demonstrate that human perception is an important basis for analysis and supersedes any notational concept. It will suggest, however, that a more inclusive consideration of all approaches is necessary. In conclusion, a combinational model which draws upon and develops existing analysis methodology (perceptual and computational) will be proposed