Oreste Biringucci and Amor Feretrio: A Mantuan barriera for Carnival 1585

Članek obravnava opis turnirja, ki je potekal na dvoru v Mantovi med karnevalom leta 1585. Naročil ga je dedni princ Vincenzo Gonzaga pri dvornem arhitektu Oresteju Biringucciju. Biringuccijevo poročilo, naslovljeno Apparato e barriera del tempio di Amor Feretrio, opisuje gledališko sceno, sodelujoče plemstvo, predstavljene like (večinoma iz klasične mitologije in junaških del avtorjev, kot so Ludovico Ariosto, Bernardo Tasso in Curzio Gonzaga), pa tudi – zelo nenavadno za tisti čas – dvorne pesnike in glasbenike, ki so sodelovali pri dogodku. Glasba ima v opisu vidno vlogo, saj prihod vsakega bojevnika s solističnim spevom (v dveh primerih je bil to madrigal) naznani kateri izmed mitoloških likov. Eden od madrigalov je bil prepoznan kot antifonalna kompozicija dvornega skladatelja Benedetta Pallavicina. Razprava vključuje angleški prevod omenjenega opisa, povzema življenje in delo Oresteja Biringuccija ter razpravlja o vseh drugih zbranih virih o turnirju, ki se nahajajo v arhivu Gonzaga v Mantovi.The article examines a barriera held at Mantua for carnival 1585, commissioned by the hereditary prince Vincenzo Gonzaga from the court architect Oreste Biringucci. Biringucci’s account of the Apparato e barriera del tempio di Amor Feretrio describes the theatrical setting, the nobility who participated, the characters represented (drawn from classical mythology and chivalric romances by Ludovico Ariosto, Bernardo Tasso and Curzio Gonzaga) and also – most unusually for its time – the court poets and musicians who contributed to this event. Music plays a prominent role, since mythological figures introduce each combatant with solo song – or, in two cases, with madrigals. An antiphonal madrigal by the court composer Benedetto Pallavicino has been identified as a component of the music performed on this occasion. The article offers an English translation of the Apparato, and a short study of the life and works of Oreste Biringucci, together with a corpus of documents relating to the barriera found in the Archivio Gonzaga, Mantua

Inside the history of Italian coloring industries. An investigation of ACNA dyes through a novel analytical protocol for synthetic dye extraction and characterization

The introduction of synthetic dyes completely changed the industrial production and use of colorants for art materials. From the synthesis of the first synthetic dye, mauveine, in 1856 until today, artists have enjoyed a wider range of colors and selection of chemical properties than was ever available before. However, the introduction of synthetic dyes introduced a wider variety and increased the complexity of the chemical structures of marketed dyes. This work looks towards the analysis of synthetically dyed objects in heritage collections, applying an extraction protocol based on the use of ammonia, which is considered favorable for natural anthraquinone dyes but has never before been applied to acid synthetic dyes. This work also presents an innovative cleanup step based on the use of an ion pair dispersive liquid–liquid microextraction for the purification and preconcentration of historical synthetic dyes before analysis. This approach was adapted from food science analysis and is applied to synthetic dyes in heritage science for the first time in this paper. The results showed adequate recovery of analytes and allowed for the ammonia-based extraction method to be applied successfully to 15 samples of suspected azo dyes from the Azienda Coloranti Nazionali e Affini (ACNA) synthetic dye collection, identified through untargeted HPLC-HRMS analyses

Impact of opioid-free analgesia on pain severity and patient satisfaction after discharge from surgery: multispecialty, prospective cohort study in 25 countries

Background: Balancing opioid stewardship and the need for adequate analgesia following discharge after surgery is challenging. This study aimed to compare the outcomes for patients discharged with opioid versus opioid-free analgesia after common surgical procedures.Methods: This international, multicentre, prospective cohort study collected data from patients undergoing common acute and elective general surgical, urological, gynaecological, and orthopaedic procedures. The primary outcomes were patient-reported time in severe pain measured on a numerical analogue scale from 0 to 100% and patient-reported satisfaction with pain relief during the first week following discharge. Data were collected by in-hospital chart review and patient telephone interview 1 week after discharge.Results: The study recruited 4273 patients from 144 centres in 25 countries; 1311 patients (30.7%) were prescribed opioid analgesia at discharge. Patients reported being in severe pain for 10 (i.q.r. 1-30)% of the first week after discharge and rated satisfaction with analgesia as 90 (i.q.r. 80-100) of 100. After adjustment for confounders, opioid analgesia on discharge was independently associated with increased pain severity (risk ratio 1.52, 95% c.i. 1.31 to 1.76; P < 0.001) and re-presentation to healthcare providers owing to side-effects of medication (OR 2.38, 95% c.i. 1.36 to 4.17; P = 0.004), but not with satisfaction with analgesia (beta coefficient 0.92, 95% c.i. -1.52 to 3.36; P = 0.468) compared with opioid-free analgesia. Although opioid prescribing varied greatly between high-income and low- and middle-income countries, patient-reported outcomes did not.Conclusion: Opioid analgesia prescription on surgical discharge is associated with a higher risk of re-presentation owing to side-effects of medication and increased patient-reported pain, but not with changes in patient-reported satisfaction. Opioid-free discharge analgesia should be adopted routinely

Paolo Britti, beneški slepec: ulična glasba v Benetkah 17. stoletja

The blind Venetian street singer Paolo Britti (fl. 1619–ca. 1660) composed poems of a popular nature, some two hundred of which survive. Britti occasionally indicates the ‘arias’ to which the poems should be sung: unexpectedly, they include monodies and arias by such composers as Milanuzzi, Monteverdi, Merula and Cavalli.Slepi beneški pevec Paolo Britti (deloval 1619–ok. 1660) je pisal popularne pesmi, od katerih se jih je do danes ohranilo okrog dvesto. Občasno je Britti nakazal tudi, na katere »arije« naj bi se njegove pesmi pele: to so – povsem nepričakovano – monodije in arije skladateljev, kot so Milanuzzi, Monteverdi, Merula in Cavalli

The five-part madrigals of Benedetto Pallavicino.

480 leaves :illus., maps., pamph.(404-41p.) in pocket ; 30 cm. Bibliography: p.459-472. University of Otago department: Music. Vol. 2 "presents an edition of fifty-five madrigals from Pallavicino's eight books of five-part madrigals"The thesis is an analysis of the five-part madrigal volumes of Benedetto Pallavicino, maestro di cappella at the Mantuan court 1596-1601, in relation to the compositions of his contemporaries active at Mantua and the nearby court of Ferrara: Wert, Rovigo, Gastoldi, Monteverdi, Marenzio, Luzzaschi, Bertani, Gesualdo and Fontanelli. It traces Pallavicino’s stylistic development throughout his eight five-part madrigal books, and attempts to assess his role in the evolution of the madrigal at Mantua during the last three decades of the sixteenth century. Over 240 musical examples are included in the text. The introductory chapter gives an account of Pallavicino’s life which includes several newly-discovered documents from the Gonzaga archives. The second volume contains a representative selection of his madrigals

The five-part madrigals of Benedetto Pallavicino.

480 leaves :illus., maps., pamph.(404-41p.) in pocket ; 30 cm. Bibliography: p.459-472. University of Otago department: Music. Vol. 2 "presents an edition of fifty-five madrigals from Pallavicino's eight books of five-part madrigals"The thesis is an analysis of the five-part madrigal volumes of Benedetto Pallavicino, maestro di cappella at the Mantuan court 1596-1601, in relation to the compositions of his contemporaries active at Mantua and the nearby court of Ferrara: Wert, Rovigo, Gastoldi, Monteverdi, Marenzio, Luzzaschi, Bertani, Gesualdo and Fontanelli. It traces Pallavicino’s stylistic development throughout his eight five-part madrigal books, and attempts to assess his role in the evolution of the madrigal at Mantua during the last three decades of the sixteenth century. Over 240 musical examples are included in the text. The introductory chapter gives an account of Pallavicino’s life which includes several newly-discovered documents from the Gonzaga archives. The second volume contains a representative selection of his madrigals

The Museum of Renaissance Music: A History in 100 Exhibits

This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts—materials, tools, instruments, art objects, images, texts, and spaces—and their witness to the priorities and activities of people in the past as they addressed their world through music. The result is a history by collage, revealing overlapping musical practices and meanings—not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music’s central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field

Development of the CMS detector for the CERN LHC Run 3

International audienceSince the initial data taking of the CERN LHC, the CMS experiment has undergone substantial upgrades and improvements. This paper discusses the CMS detector as it is configured for the third data-taking period of the CERN LHC, Run 3, which started in 2022. The entire silicon pixel tracking detector was replaced. A new powering system for the superconducting solenoid was installed. The electronics of the hadron calorimeter was upgraded. All the muon electronic systems were upgraded, and new muon detector stations were added, including a gas electron multiplier detector. The precision proton spectrometer was upgraded. The dedicated luminosity detectors and the beam loss monitor were refurbished. Substantial improvements to the trigger, data acquisition, software, and computing systems were also implemented, including a new hybrid CPU/GPU farm for the high-level trigger

Development of the CMS detector for the CERN LHC Run 3

International audienceSince the initial data taking of the CERN LHC, the CMS experiment has undergone substantial upgrades and improvements. This paper discusses the CMS detector as it is configured for the third data-taking period of the CERN LHC, Run 3, which started in 2022. The entire silicon pixel tracking detector was replaced. A new powering system for the superconducting solenoid was installed. The electronics of the hadron calorimeter was upgraded. All the muon electronic systems were upgraded, and new muon detector stations were added, including a gas electron multiplier detector. The precision proton spectrometer was upgraded. The dedicated luminosity detectors and the beam loss monitor were refurbished. Substantial improvements to the trigger, data acquisition, software, and computing systems were also implemented, including a new hybrid CPU/GPU farm for the high-level trigger