Die Verhandlungsfähigkeit des alten (multimorbiden) Patienten

Zusammenfassung: Die Anforderungen an die Verhandlungsfähigkeit entsprechen im Wesentlichen dem "Kompetenzmodell" in der neuropsychiatrischen Literatur: Eine Person muss einen Sachverhalt verstehen, in einen Zusammenhang einordnen, die Konsequenzen bedenken sowie eine Entscheidung fällen und ausdrücken können. Gesundheitliche Störungen, die die Verhandlungsfähigkeit beeinflussen, sind im Alter vorwiegend bei Demenzen, Depressionen und/oder Delirien zu erwarten. Relevante Fakten zu diesen Syndromen werden dargestellt. Um die Interraterreliabilität und die Validität von Kompetenzbeurteilungen zu optimieren, erscheint es sinnvoll, strukturierte "assessments" unter Einbeziehung auch psychometrischer Tests heranzuziehen, statt sich allein auf ein klinisches Global- oder Gesamturteil zu verlassen. Bestuntersucht ist bis heute der "Mini-Mental Status Test" (MMSE). Bei Werten von weniger als 16Punkten ist danach sicher von einer Kompetenzstörung auszugehen, bei solchen über 26 allenfalls fraglich. Skalen und Instrumente, die Depressivität oder andere psychopathologische Funktionen quantifizieren, wurden hierzu bisher nicht untersucht. Mit diesem Thema befasste Juristen sollten eine Basiskompetenz im Umgang mit diesen orientierenden Instrumenten erwerbe

John Williams’s Film Music in the Concert Halls

Film music has its roots in late-romantic concert music. A number of composers of so-called “serious music” also composed for the film. And some Golden Age film composers came from the concert-music realm and, once they started their association with Hollywood, continued to pen works for the concert stage too. Film music had to struggle for a long time against the prejudice that saw it as music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film-music concerts have experienced a blossoming in the recent years. There is a large variety, from programmes that only perform film music in concert halls without any additional element to large-scale events in multi-purpose halls where film music is accompanied by film clips or provides the live accompaniment to entire films. This chapter examines the role of John Williams’s film scores in this context. Are there any special features of Williams’s film music that make it particularly suitable to the concert hall? How does the performance practice of his film music differ in comparison to classical concerts? Are there any pieces that are played more frequently than others, and if so, why

Depressionen im Alter

Zusammenfassung: Depressionen sind im Alter die häufigsten psychischen Erkrankungen. Manche Betroffene hatten schon in früheren Lebensabschnitten depressive Episoden oder andere psychische Erkrankungen. Das psychopathologische Erscheinungsbild unterscheidet sich von dem Jüngerer dahin gehend, dass somatische Beschwerden oder Klagen über kognitive Beeinträchtigungen häufig sind. Bekannte Risikofaktoren für eine Depression im Alter sind (neu auftretende) körperliche Erkrankungen, Schlafstörungen oder Partnerverlust. Depressionen komplizieren den Verlauf komorbider somatischer Erkrankungen. Wesentliche Folge ist eine hohe Suizidalität im Alter. Depressionen sind auch ein Risikofaktor für eine Reihe anderer Störungen, von der Demenz bis hin zur früheren Institutionalisierung. Das Wechselspiel zwischen Depression und Demenz sowie anderen hirnorganischen Erkrankungen ist komplex und noch nicht vollständig verstanden. Die Depression im Alter stellt an das Gesundheitssystem eine Fülle von Herausforderungen. Noch immer wird sie nur selten erkannt. Integrative Behandlungsansätze im Kontext somatischer Erkrankungen bzw. auch in verschiedenen Settings (z. B. Altenheim) gilt es noch zu entwickeln. Angesichts der steigenden Zahl älterer Menschen ist zu fordern, die Evidenz für die verschiedenen Behandlungsformen der Depression deutlich zu verbessern. In der Praxis überwiegt - eine häufig inadäquate - Pharmakotherapie. Psychotherapeutische Behandlungsangebote müssen weiterentwickelt und die Zahl entsprechend qualifizierter Therapeuten erhöht werde

Original Soundtrack: On the Meaning and Significance of Film Music Albums

Despite a gradual, albeit still hesitant turnaround in music and film studies, film music is considered a musical genre that, for a long time, was not seen without the associated medium of film. Film music was thus regarded as an accompaniment to the film narrative, more or less inseparably connected with it and not appreciated as a separate work of art. Nevertheless, with the spread of sound storage media such as the gramophone record, albums came onto the market on which “only” film music could be heard. Today, film music on CDs or as digital releases is an integral part of the distribution chain of film studios and is usually commercially available. In a niche segment, labels have also specialized in releasing film music outside of mainstream cinema or in completing film music that has only been released incompletely and bringing it back onto the market in a remastered version. In addition, there are numerous releases where film music is not released as original recordings but as re-recordings, sometimes in the form of suites or new arrangements. The paper would like to argue that through this work of labels and releases, film music is held in high esteem, which goes far beyond viewing film music as a mere accompaniment or underscore to the accompanying film. Instead, albums enable the listener to perceive film music independently of the film, which corresponds not least to the performance of film music in concert halls. In this paper, a few examples will be worked out and interviews with producers and label managers will help to find out to what extent film music can be regarded as independent works (which, like program music, are based on an extra-musical idea) and what advantages or disadvantages the tendency from CD to digital releases has

Original soundtrack: On the meaning and significance of film music albums

Despite a gradual, albeit still hesitant turnaround in music and film studies, film music is considered a musical genre that, for a long time, was not seen without the associated medium of film. Film music was thus regarded as an accompaniment to the film narrative, more or less inseparably connected with it and not appreciated as a separate work of art. Nevertheless, with the spread of sound storage media such as the gramophone record, albums came onto the market on which “only” film music could be heard. Today, film music on CDs or as digital releases is an integral part of the distribution chain of film studios and is usually commercially available. In a niche segment, labels have also specialized in releasing film music outside of mainstream cinema or in completing film music that has only been released incompletely and bringing it back onto the market in a remastered version. In addition, there are numerous releases where film music is not released as original recordings but as re-recordings, sometimes in the form of suites or new arrangements. The paper would like to argue that through this work of labels and releases, film music is held in high esteem, which goes far beyond viewing film music as a mere accompaniment or underscore to the accompanying film. Instead, albums enable the listener to perceive film music independently of the film, which corresponds not least to the performance of film music in concert halls. In this paper, a few examples will be worked out and interviews with producers and label managers will help to find out to what extent film music can be regarded as independent works (which, like program music, are based on an extra-musical idea) and what advantages or disadvantages the tendency from CD to digital releases has

Once again in rehearsal: Celibidache rehearses Bruckner’s Ninth by Jan Schmidt-Garre

Rezension zu: 'Celibidache Rehearses Bruckner’s Ninth' Director: Jan Schmidt-Garre Arthaus Musik DVD 101 555 2011 58 min

SystemC Through the Looking Glass : Non-Intrusive Analysis of Electronic System Level Designs in SystemC

Due to the ever increasing complexity of hardware and hardware/software co-designs, developers strive for higher levels of abstractions in the early stages of the design flow. To address these demands, design at the Electronic System Level (ESL) has been introduced. SystemC currently is the de-facto standard for ESL design. The extraction of data from system designs written in SystemC is thereby crucial e.g. for the proper understanding of a given system. However, no satisfactory support of reflection/introspection of SystemC has been provided yet. Previously proposed methods for this purpose %introduced to achieve the goal nonetheless either focus on static aspects only, restrict the language means of SystemC, or rely on modifications of the compiler and/or parser. In this thesis, approaches that overcome these limitations are introduced, allowing the extraction of information from a given SystemC design without changing the SystemC library or the compiler. The proposed approaches retrieve both, static and dynamic (i.e. run-time) information