4 research outputs found

    Herstory: An Exploration of Femininity through Song

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    Herstory: An Exploration of Femininity through Song” is part of a two concert series centering around the interpretation of gender in classical music, all based around the idea that mezzo-sopranos are amazingly unique in that we are cast both as men and women in operas, operettas and other musical works. I feel this opens up my musical emotional spectrum as a performer. As such, the first concert is exploring women as portrayed through classical music, and my second concert next spring will be only “pants” roles, as mezzo roles portraying men are fondly called. One thing you may notice is that this entire concert is composed by men. Though you might find this an interesting choice, I must be honest and say there is a much larger representation of men as composers, historically, and since my concert is attempting to portray women’s characterization and manifestations in classical music, it felt slightly wrong to seek out exclusively or even mostly female composers; this would not be a real or accurate representation of what it means to be a woman as based on the majority of musical history. Though these are further elaborated on in my program, my concert was broken up into 4 sections that I felt defined classical characteristics of femininity. The first section, “WHAT DOES IT MEAN TO BE A WOMAN” is a hot topic in today’s society. In the beginnings of classical music, however, what it meant to be a woman was prescribed by men. I tried to pick songs that truly explore and capture not the answer to this question, but the question itself. I chose Eve-song: My Name by Jake Heggie and Polo from 7 Canciones Populares Espanolas by Manuel da Falla. The second section was entitled, “WOMEN ARE MOTHERS.” I felt motherhood was an exceptionally important theme to have in this concert. Motherhood, in the form of learning from a mother or being a mother oneself, can truly shape who we are as people. There is love and inherent pride in being a mother, but there is also pain and frustration. The next several selections are intended to explore some of these sentiments. The selections Nana and Cancion from 7 Canciones Populares Espanolas by de Falla and an meinem Herzen from Robert Schumann’s Frauenlieben und Leben intended to explore these sentiments. Section three was entitled “WHAT DO WOMEN MEAN TO MEN?” Music in the classical style often shows women as things to be either loved or commanded. I chose pieces that I felt would portray this struggle for women, which included il est doux from Maurice Ravel’s song cycle Chansons Madecasses, and Give Him this Orchid from Benjamin Britten’s opera The Rape of Lucretia. The next section was entitled “WOMEN ARE BEAUTIFUL” .Though this ought to go without saying, I found a very strong connection with songs where women sing about their own beauty, instead of men singing about the beauty of women. More interesting is the intensity of the power of seduction. I felt the arias Meine Lippen sie küssen so heiẞ from Franz Lehar’s operetta Giudetta and Mon Coeur S’Ouvre à ta Voix, an aria that comes from the opera Samson and Dalila by Camille Saint-Saëns. The final section is entitled “WOMEN CAN ADAPT.” I feel an exceptionally important characteristic of women is the ability to figure out and navigate difficult situations with fluidity, grace, and spunk. The last two selections, I am easily assimilated from the opera Candide by Berstein, and Cruda Sorte from L’Italiana in Algeri by Rossini perfectly capture these sentiments

    Molecular analysis of the endobronchial stent microbial biofilm reveals bacterial communities that associate with stent material and frequent fungal constituents.

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    Endobronchial stents are increasingly used to treat airway complications in multiple conditions including lung transplantation but little is known about the biofilms that form on these devices. We applied deep sequencing to profile luminal biofilms of 46 endobronchial stents removed from 20 subjects primarily with lung transplantation-associated airway compromise. Microbial communities were analyzed by bacterial 16S rRNA and fungal ITS marker gene sequencing. Corynebacterium was the most common bacterial taxa across biofilm communities. Clustering analysis revealed three bacterial biofilm types: one low diversity and dominated by Corynebacterium; another was polymicrobial and characterized by Staphylococcus; and the third was polymicrobial and associated with Pseudomonas, Streptococcus, and Prevotella. Biofilm type was significantly correlated with stent material: covered metal with the Staphylococcus-type biofilm, silicone with the Corynebacterium-dominated biofilm, and uncovered metal with the polymicrobial biofilm. Subjects with sequential stents had frequent transitions between community types. Fungal analysis found Candida was most prevalent, Aspergillus was common and highly enriched in two of three stents associated with airway anastomotic dehiscence, and fungal taxa not typically considered pathogens were highly enriched in some stents. Thus, molecular analysis revealed a complex and dynamic endobronchial stent biofilm with three bacterial types that associate with stent material, a central role for Corynebacterium, and that both expected and unexpected fungi inhabit this unique niche. The current work provides a foundation for studies to investigate the relationship between stent biofilm composition and clinical outcomes, mechanisms of biofilm establishment, and strategies for improved stent technology and use in airway compromise
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