Nanoferroics: state of art, gradient driven couplings and advanced applications (Authors' review)

Ferroics and multiferroics are unique objects for fundamental physical research of complex nonlinear processes and phenomena, which occur in them in micro and nanoscale. Due to the possibility of their physical properties control by size effects, nanostructured and nanosized ferroics are among the most promising for advanced applications in nanoelectronics, nanoelectromechanics, optoelectronics, nonlinear optics and information technologies. The review discuss and analyze that the thickness of the strained films, the size and shape of the ferroic and multiferroic nanoparticles are unique tools for controlling their phase diagrams, long range order parameters, magnitude of susceptibility, magnetoelectric coupling and domain structure characteristics at fixed temperature. Significant influence of the flexochemical effect on the phase transition temperature, polar and dielectric properties is revealed for thin films and nanoparticles. Obtained results are important for understanding of the nonlinear physical processes in nanoferroics as well as for the advanced applications in nanoelectronics.Comment: 23 pages, 15 figure

ДЖЕРЕЛА ФОРМУВАННЯ ТА ОСОБЛИВОСТІ ІНТЕРПРЕТАЦІЇ СТАРОВИННОЇ СЮЇТИ ДЛЯ ДВОКЛАВІРНОГО ДУЕТУ

In the article the specifics of interpretation and genesis process of the old suite for a two-clavier duo are researched. The influence of transformations in the area of improving mechanics of keyboard music instruments in XVIII century on performer’s stylistics is considered. The analysis of four parts of g-moll Suite by Johann Mattheson, one of the first examples of the suite for a two-clavier duo is offered.In the concert practice of modern performers along with music of various styles there can be observed a big interest towards baroque music. This trend is especially characteristic of the European countries. The interpretation of old instrumental music stimulates raising and solving a number of performance problems, which will be the aims of this article. This research will try to solve the tasks connected with the ability of understanding a music text, hiding behind ornamental melodic structure, a genuine inspiration of the creator of baroque music, with reconstruction of authentic, historically genuine sound of instruments on modern pianos. The realization of such tasks will require the performer’s skills of differentiated distribution of dynamics in a special way of articulation as well as consideration of such an important element of music speech as melismatics. Problems of the old music’s interpreting is so complicated that the author of the article agrees with the opinion of Walter Gieseking, who considered that it was necessary to use intuition, which helped one’s mind and feelings and which could direct a thought and perception of musicians-interpreters towards a right interpretation of those works, which had been created by composers of past ages, hundreds years before nowadays. Basing on analytic research of one of the earliest suites created for a two-clavier duo – g-moll Suite (1704-5) by Johann Mattheson, we raised scientific tasks, touching upon problems of instrumental sound (studies of historic traditions, in which the piece was created) as well as upon artistic direction of interpretation and peculiarities of the dialogue between two performers. There is diverse information in the structure of Mattheson’s Suite. Upon a complex performer’s analysis one can discover an emotional element of the music. It reveals in roll call of voices, changes in direction of passage movements, reproduction of intonations, imitations and canons, filled with the expression of the dialogues of conflict or friendship. Performers’ of Mattheson’s Suite will face the problem of discovering of old notation of affects in the grammar, which will reveal for the modern listeners connection of old dances with an individual author’s style and artistic features of composer’s image of the dance. It should be pointed out that genre essence of two-clavier suites of the baroque epoch was still close towards applied and functional basis of the dance semantics. At the primary stage of working on the Suite by J.Mattheson, performers should be familiarized with the decryption of ornaments, suggested by the composer, which makes closer to the right text interpretation. In the instrumental music the process of typification of ornamentation formulae takes place earlier than in the vocal music, and the formulae are written in the music text. We consider that the search of artistic and technical devices of the Suite’s performance should be based on the knowledge of dancing baroque tradition for reconstructing a character of old dances expressed by the composer in the music text.Such approach should be combined with listening to the piano sound and search of timbre correspondence to the sound colour and specifics of harpsichord performance. Studying historic materials of reflecting performers’ stylistics of the past epoch, which has undergone significant changes, modern performers can find emotional expression in the interpretation of old dances, getting closer to the authenticity of the sound. The presented information allows us to make a conclusion that the interest towards performing on two claviers becomes an impulse for organological improvement of mechanics of keyboard instruments and, vice versa, new instruments create favourable conditions for the development of ensemble formation in the composer’s and performer’s areas. Taking into consideration that Johann Mattheson was one of the first in the music history who realized the suite idea in the performance form of a two-clavier duo and directly perceived rhythmic, intonation and kinetic impulses of dancing nature, it can be suggested that his specific musical and personal-domestic perceptions about dances are naturally integrated into individual artistic creativity.В статье исследуются специфика интерпретации и процесс генезиса старинной сюиты для двухклавирного дуэта. Рассматривается влияние, которое оказали на исполнительскую стилистику преобразования в области усовершенствования механики клавишных музыкальных инструментов, происходившие в XVIII столетии. Предлагается анализ четырехчастной Сюиты соль минор Иоганна Маттезона, которая является одним из первых образцов сюиты для двухклавирного дуэта. По результатам исследования выявляется влияние танцевальной музыки эпохи Барокко на старинную сюиту для двухклавирного дуэта.У статті досліджується специфіка інтерпретації та процес генезису старовинної сюїти для двоклавірного дуету. Розглядається вплив, який здійснили на виконавську стилістику перетворення в царині удосконалення клавішних музичних інструментів у XVIII сторіччі. Пропонується аналіз Сюїти соль мінор з чотирьох частин Йоганна Маттезона, яка є однією з перших зразків сюїти для двоклавірного дуету. Внаслідок дослідження виявляється вплив танцювальної музики епохи Бароко на старовинну сюїту для двохклавірного дуету

The feasibility of wireless capsule endoscopy in detecting small intestinal pathology in children under the age of 8 years: a multicentre European study.

Objective: To systematically evaluate the feasibility and methodology to carry out wireless capsule endoscopy (WCE) in children <8 years to define small intestinal pathology. Design: Prospective European multicentre study with negative prior investigation. Patients and interventions: 83 children aged 1.5–7.9 years were recruited. Initially, all were offered “swallowing” (Group 1) for capsule introduction. If this failed endoscopic placement (Group 2) was used and the Roth net, Advance or custom-made introducers were compared. Outcome measures: Primary endpoint: to determine pathology; secondary endpoint: comparison of capsule introduction methods. Results: Capsule introduction: 20 (24%) children aged 4.0–7.9 years (mean, 6.9 years; 14 male) comprising Group 1 were older (p<0.025) than 63 (76%) aged 1.5–7.9 years (mean, 5.25 years; 30 male) forming Group 2. Complications: Roth net mucosal trauma in 50%; no others occurred. The available recording apparatus was inappropriate for those <3 years. Indications: gastrointestinal bleeding: n = 30 (16 positive findings: four ulcerative jejunitis, four polyps, two angiodysplasia, two blue rubber blebs, two Meckel’s diverticula, one anastomotic ulcer, one reduplication); suspected Crohn’s disease: n = 20 (11 had Crohn’s disease); abdominal pain: n = 12 (six positive findings: three Crohn’s disease, two lymphonodular hyperplasia, one blue rubber bleb); protein loss: n = 9 (four lymphangectasia); malabsorption: n = 12 (seven positive findings: six enteropathy, one ascaris). No abnormalities overall: 45%. Conclusion: WCE is feasible and safe down to the age of 1.5 years. 20 children >4 years swallowed the capsule. The Advance introducer proved superior for endoscopic placement. The pathologies encountered showed age specificity and, unlike in adolescents, obscure gastrointestinal bleeding was the commonest indication