77 research outputs found
Encontro com Pierre Boulez
Quando do Encontro com Pierre Boulez, realizado no auditĂłrio do Departamento de MĂșsica da ECA-USP em 23 de outubro de 1996, as respostas do compositor, intĂ©rprete e pensador francĂȘs Ă s quatro perguntas - formuladas por: Marcos Branda Lacerda, LuĂs AntĂŽnio Giron, Haroldo de Campos e DĂ©cio Pignatari - foram traduzidas oralmente por Gilberto Tinetti e JosĂ© Eduardo Martins. A convite do Departamento de MĂșsica, a RĂĄdio Cultura-FM gravou o evento, tendo inclusive apresentado, no mĂȘs de dezembro de 1996, em quatro programas, parte das respostas de Pierre Boulez. A partir das gravaçÔes, preparou-se a tradução escrita, buscando-se ao mĂĄximo desvinculĂĄ-la do sentido literĂĄrio, guardando sim, na medida do possĂvel, a espontaneidade do discurso. Torna-se necessĂĄria esta colocação, pois Pierre Boulez Ă© detentor de uma das mais claras, objetivas e elegantes penas do pensar musical. As notas fazem-se presentes a fim de simplesmente trazer subsĂdio complementar - sobremaneira na especificidade extramusical - ao histĂłrico Encontro. A Revista MĂșsica agradece Ă Sociedade de Cultura ArtĂstica, co-realizadora do evento
Pierre Boulez â Ăcriture musicale et accident
La figure de Pierre Boulez, compositeur majeur de lâaprĂšs-guerre, puis chef dâorchestre de dimension internationale depuis les annĂ©es soixante-dix, est celle dâun crĂ©ateur qui sâest toujours penchĂ© sur sa crĂ©ation, et la crĂ©ation musicale en gĂ©nĂ©ral. Lâimage sommaire quâon a longtemps prĂ©sentĂ©e de lui (un musicien-mathĂ©maticien, rationaliste, thĂ©oricien du « degrĂ© zĂ©ro de lâĂ©criture musicale », planificateur dodĂ©caphoniste de ses Ćuvres) semblait ne pas laisser place Ă celle dâun compositeur ..
Loss of LGR4/GPR48 causes severe neonatal salt-wasting due to disrupted WNT signaling altering adrenal zonation.
Disorders of isolated mineralocorticoid deficiency causing potentially life-threatening salt-wasting crisis early in life have been associated with gene variants of aldosterone biosynthesis or resistance, but in some patients no such variants are found. WNT/ÎČ-catenin signaling is crucial for differentiation and maintenance of the aldosterone producing adrenal zona glomerulosa (zG). We describe a highly consanguineous family with multiple perinatal deaths or infants presenting at birth with failure to thrive, severe salt-wasting crises associated with isolated hypoaldosteronism, nail anomalies, short stature, and deafness. Whole exome sequencing revealed a homozygous splice variant in the R-SPONDIN receptor LGR4 gene (c.618-1G>C) regulating WNT signaling. The resulting transcripts affected protein function and stability, and resulted in loss of Wnt/ÎČ-catenin signaling in vitro. The impact of LGR4 inactivation was analyzed by adrenal cortex specific ablation of Lgr4, using Lgr4Flox/Flox mated with Sf1:Cre mice. Inactivation of Lgr4 within the adrenal cortex in the mouse model caused decreased WNT signaling, aberrant zonation with deficient zG and reduced aldosterone production. Thus, human LGR4 mutations establish a direct link between LGR4 inactivation and decreased canonical WNT signaling with abnormal zG differentiation and endocrine function. Therefore, variants in WNT signaling and its regulators should systematically be considered in familial hyperreninemic hypoaldosteronism
Comparing Notes: Recording and Criticism
This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edisonâs Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice
Wider Still and Wider: British Music Criticism since the Second World War
This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism
ParallĂšles
La situation de Kandinsky peut, Ă plus dâun titre, se comparer Ă celle de SchĆnberg : observation qui nâest pas, je le crois, destinĂ©e Ă lâusage exclusif des musiciens. Kandinsky, comme SchĆnberg, reprĂ©sente une force de libĂ©ration capitale dĂ©cisive. Laquelle, dâailleurs, ainsi que pour SchĆnberg, trouvera tardivement son chemin en France, lâattention y Ă©tant alors dĂ©rivĂ©e par des phĂ©nomĂšnes plus immĂ©diatement frappants, ou plus superficiels. LâĂ©mancipation de la tonalitĂ©, je la mettrais volo..
- âŠ