New and Old Tendencies in Labour Mediation among Early Twentieth-Century U.S. and European Composers: An Outline of Applied Attitudes

This paper presents strategies used by early twentieth-century composers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expectations of his position within society. An analysis of written accounts by composers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition.This paper presents strategies used by early twentieth-century composers in order to secure an income. In the wake of new economic realities, the Romantic legacy of the musician as creator was confronted by new expectations of his position within society. An analysis of written accounts by composers of various origins (British, German, French, Russian or American), including their artistic preferences and family backgrounds, reveals how they often resorted to jobs associated with musicianship such as conducting or teaching. In other cases, they willingly relied on patronage or actively sought new sources of employment offered by the nascent film industry and assorted foundations. Finally, composers also benefited from organized associations and leagues that campaigned for their professional recognition

Skladatelji moderne i pojam genija

It can be claimed that Modernist composers in some respects inherited the 19th century concept of an artist-creator whose ability to conceive a work of art was considered as an almost godlike power. The cultivation of the genius idea as viewed in this article will be understood as a concept that originated in the late 18th century, blossomed in the 19th century and had an enormous impact on how the role of the composer was perceived by composers of the age of Modernism, who - as already mentioned - partly inherited this way of thinking. I will argue that although early 20th century composers tried to distance themselves from the whole 19th century idea of composer-genius, they were unable to cut off completely the influence of the notion. What is more, the tradition of super individuals who did not subordinate themselves to the criteria of style - the musicological approach popularised by one of the founding fathers of the discipline, Guido Adler in his 1911 book Der Still in der Musik - stuck with most Modernist composers, who probably even unintentionally followed that track.Može se ustvrditi da su skladatelji Moderne na neki način naslijedili ideju 19. stoljeća o umjetniku stvaraocu čija se sposobnost začinjanja umjetničkog djela smatrala gotovo božanskom moći. Kao što je opće poznato, europska je kulturna tendencija 19. stoljeća bila pripisivanje počasnog mjesta glazbi; međutim, ideju glazbe kao močne umjetnosti uzeli su skladatelji Moderne sa zrncem soli. Pa ipak, neke snažne romantičke ideje kao ona o izolaciji velikih skladatelja - što je bila prirodna posljedica Beethovenova naslijeđa emancipacije - pratile su većinu skladatelja Moderne. Skladatelji su osjećali da se od njih očekuje udaljavanje od običnih građana i okupljanje s drugim umjetnicima, te u posljedici stvaranje slike o umjetničkoj boemštini. Metaforička "kula bjelokosna", shvaćena kao sjajna izoliranost (tzv. "splendid isolation"), bila je s jedne strane negirana, ali - začuđujuće - branjena na drugoj strani. Nadalje, često ismijavana romantička slika "dugokosih skladatelja" utjecala je i na ideju skladatelja Moderne o slici skladatelja. Beethovenovo naslijeđe nije se otkrivalo samo u pripisivanju enormno visokog statusa skladatelju kao prijenosniku vrijednosti građanske klase, nego je njegova uloga bila još i pojačana od toga doba popularnim vizualnim predstavljanjem skladatelja (u obliku posmrtnih maska ili naslikanih portreta). Izazov naslijeđu 19. stoljeća o skladatelju geniju u vrlo su velikoj mjeri predstavljala vlastita razmišljanja skladatelja Moderne o njihovu statusu u društvu. Izravne ili neizravne aluzije o toj stavci javljaju se u većem dijelu njihovih sjećanja, dnevnika i pisama. Teme s kojima se često bave uključuju pojam genija, genij i problem osrednjosti, nedostatak priznanja i ideju izoliranosti (ranije spomenuti stav o "kuli bjelokosnoj"). Tko je dakle bio skladatelj u očima skladatelja Moderne? Puki obrtnik ili nadahnuti genij? Odgovor na ovo pitanje ne može biti jednodušan. Međutim, izgleda da je izvan sumnje da su ideal o geniju-skladatelju skladatelji Moderne naslijedili, ali ne usvojivši ga potpuno. Oni su u svojim brojnim refleksijama o ulozi skladatelja u društvu nastojali isposlovati svoj vlastiti nov položaj u svijetu koji se mijenjao

Empirical description of the hadron-hadron and hadron-nucleus interaction at the accelerator energy range

Taking into account several assumptions, a formula is transformed into two expressions for kaon and baryon plus antibaryon production in proton interaction and for pion production in pion interactions. Combining both formulae, expression are obtained for the spectrum of kaons and baryons plus antibaryons produced in the meson interactions. For analysis of the cosmic ray propagation in the atmosphere in actual fact, instead of the formulae for interactions of protons and mesons with protons, formulae appropriate for interactions with air nuclei was used. Using the method outlined among others by Elias et al. (1980) simple corrections were introduced to the derived expressions to account for the fact that the target is an air nucleus

Physical interaction between MYCN oncogene and polycomb repressive complex 2 (PRC2) in neuroblastoma: Functional and therapeutic implications

This article is made available through the Brunel Open Access Publishing Fund. © 2013 by The American Society for Biochemistry and Molecular Biology, Inc.CLU (clusterin) is a tumor suppressor gene that we have previously shown to be negatively modulated by the MYCN proto-oncogene, but the mechanism of repression was unclear. Here, we show that MYCN inhibits the expression of CLU by direct interaction with the non-canonical E box sequence CACGCG in the 5′-flanking region. Binding of MYCN to the CLU gene induces bivalent epigenetic marks and recruitment of repressive proteins such as histone deacetylases and Polycomb members. MYCN physically binds in vitro and in vivo to EZH2, a component of the Polycomb repressive complex 2, required to repress CLU. Notably, EZH2 interacts with the Myc box domain 3, a segment of MYC known to be essential for its transforming effects. The expression of CLU can be restored in MYCN-amplified cells by epigenetic drugs with therapeutic results. Importantly, the anticancer effects of the drugs are ablated if CLU expression is blunted by RNA interference. Our study implies that MYC tumorigenesis can be effectively antagonized by epigenetic drugs that interfere with the recruitment of chromatin modifiers at repressive E boxes of tumor suppressor genes such as CLU.SPARKS, The Neuroblastoma Society, a Wellcome Trust grant (to A. S.), and the Italian Association for Cancer Research

No Right to Remain Silent: Isolating Malicious Mixes

Mix networks are a key technology to achieve network anonymity and private messaging, voting and database lookups. However, simple mix network designs are vulnerable to malicious mixes, which may drop or delay packets to facilitate traffic analysis attacks. Mix networks with provable robustness address this drawback through complex and expensive proofs of correct shuffling but come at a great cost and make limiting or unrealistic systems assumptions. We present Miranda, an efficient mix-net design, which mitigates active attacks by malicious mixes. Miranda uses both the detection of corrupt mixes, as well as detection of faults related to a pair of mixes, without detection of the faulty one among the two. Each active attack -- including dropping packets -- leads to reduced connectivity for corrupt mixes and reduces their ability to attack, and, eventually, to detection of corrupt mixes. We show, through experiments, the effectiveness of Miranda, by demonstrating how malicious mixes are detected and that attacks are neutralized early

Characterization of hydrocarbon-degrading and biosurfactant-producing "Pseudomonas" sp. P-1strain as a potential tool for bioremediation of petroleum contaminated soil

The Pseudomonas sp. P-1 strain, isolated from heavily petroleum hydrocarbon-contaminated soil, was investigated for its capability to degrade hydrocarbons and produce a biosurfactant. The strain degraded crude oil, fractions A5 and P3 of crude oil, and hexadecane (27, 39, 27 and 13 % of hydrocarbons added to culture medium were degraded, respectively) but had no ability to degrade phenanthrene. Additionally, the presence of gene-encoding enzymes responsible for the degradation of alkanes and naphthalene in the genome of the P-1 strain was reported. Positive results of blood agar and methylene blue agar tests, as well as the presence of gene rhl, involved in the biosynthesis of rhamnolipid, confirmed the ability of P-1 for synthesis of glycolipid biosurfactant. 1H and 13C nuclear magnetic resonance, Fourier transform infrared spectrum and mass spectrum analyses indicated that the extracted biosurfactant was affiliated with rhamnolipid. The results of this study indicate that the P-1 and/or biosurfactant produced by this strain have the potential to be used in bioremediation of hydrocarbon-contaminated soils

Kategoria narodowości w recepcji twórczości Fryderyka Chopina

The Category of Nationality in the Reception of Frederic Chopin’s Music The article outlines general tendencies and prevailing notions adopted in the interpretation of music by Fre­deric Chopin (1810–1849) in the context of its acclaimed Polishness. Initiated already in the early nineteenth century – during the composer’s life – the attitude towards his music as national heritage continues until today, creating a wide panorama of different interpretations and reinterpretations. The article presents the category of nationality in the reception of Frederic Chopin’s music by both Polish and foreign researchers

Forgetting Аbout Тraumatic Past? On the Position of Film Music Composers in Post-WWII Germany

This paper presents selected German film music composers who were active in Germany during the inter-war period as musicians trying to regain their position and renegotiate their role in the German post-war society marked by trauma and transition processes. Film music composers were believed to have stayed above politics and associated with a “harmless” type of music; therefore, they could adapt to the new situation comparatively more easily, particularly since the Allies had already treated musicians ambivalently. While pinpointing the reasons behind such a lenient attitude towards film music composers, the paper also touches on those rare cases when film music composers were actually accused of supporting the Nazi system