More Sondheim

2014 ◽  
Author(s):  
Roger Hickman
Keyword(s):  
The Other ◽  
Original Music ◽  
Cent Solution ◽  
Live Action

Sondheim provided original music for five movies: one or more songs forThe Seven-Per-Cent Solution(1976),Dick Tracy(1990), andThe Birdcage(1996), and scores forStavisky(1974) andReds(1981). The two scores reflect divergent trends in this era. Warren Beatty’sRedsuses music sparingly, and Alain Resnais’sStaviskycontains a complicated score that reflects compositional trends of the 1930s. Sondheim’s songs for the other films are crafted to entertain and to further their respective stories. ForDick Tracy, Sondheim composed five songs; several accompany montages, others crosscut with live action, and two, both performed by Madonna, have multiple reprises. Among the latter is the Oscar-winning “Sooner or Later.”

scholarly journals Congruence in Music and Movement Enhances the Perception of Sports Routine Quality

2019 ◽  
Vol 19 ◽  
Author(s):  
Fung Chiat Loo ◽  
Fung Ying Loo ◽  
Yan Piaw Chua
Keyword(s):  
New Music ◽  
The Other ◽  
Original Music ◽  
Music Majors ◽  
Dance Music ◽  
The Third ◽  
Rhythmic Gymnastics ◽  
Video Stimulus ◽  
Sports Activities

Most studies of music and sports relate to the ergogenic effect of synchronization between music and movement in repetitive sports activities. As in dance, music is clearly important for sports routines that involve choreography. This study performs an experiment involving a rhythmic gymnastics routine to investigate whether increasing the congruence between music and movement enhances the quality of sports routines from a musical perspective. In preparing the video stimulus, the original music accompaniment was replaced with a new composition to increase the congruence between music and movement using six musical parameters that parallel dance, including tempo, rhythm, phrasing, accent, direction and dynamic. Fifty-two undergraduate music majors participated in the study and evaluated two videos of the same routine, one with the original music and the other with the new music. The participants completed a three-part questionnaire: the first part evaluates the perceived congruence between music and movement in terms of the six parameters, the second part evaluates acrobatic qualities, and the third part evaluates athletic qualities. The results show that the intended congruence was perceived as significantly improved in the routine with the new accompaniment, and both the acrobatic and sports qualities were also perceived as significantly improved.   Keywords: perceived congruence, sports routine, music and movement, choreomusical, music and sports

scholarly journals REPRODUCTION IN VITRO OF ENTAMŒBA TETRAGENA AND ENTAMŒBA COLI FROM THEIR CYSTS

1920 ◽  
Vol 32 (3) ◽  
pp. 357-379 ◽  
Author(s):  
Kazuyoshi Yoshida
Keyword(s):  
Life Cycle ◽  
Hydrochloric Acid ◽  
The Other ◽  
Developmental Cycle ◽  
Cent Solution ◽  
Vegetative Form

1. The vegetative forms of amebæ may be developed in vitro from the cysts. 2. The cysts of Entamœba tetragena and Entamœba coli each produce only a single vegetative individual. It has not been observed in vitro that a number of daughter amebæ, corresponding to the number of nuclei present in the cyst, emerge from the mother cyst, as claimed by Casagrandi and Barbagallo, Schaudinn, and a number of other investigators. 3. The daughter nuclei in the cystic stage correspond to the gamete nuclei of other protozoa. The syngamic nuclear union in the case of these two amebæ does not take place in the tetranuclear stage of the cyst, as claimed by Schaudinn and Wenyon, but during reproduction. 4. The process of autogamy of both amebæ is not restricted to two nuclei; it may involve more than two, which unite to form a syncaryon. In the case of all other protozoa, autogamy is restricted to two nuclei. 5. In order to distinguish the two types of autogamy, one has been termed simple autogamy and the other polynuclear autogamy. The latter may again be classified according to the number of nuclei involved, as trinuclear and tetranuclear autogamy. 6. The majority of cysts treated for 5 minutes in a 2 per cent solution of hydrochloric acid survives. 7. It was possible to demonstrate in vitro the developmental cycle of Entamœba tetragena. 8. No evidence of heterogamy has been observed in vitro in Entamœba tetragena or Entamœba coli. 9. The vegetative form of Entamœba tetragena, at a certain stage of its life cycle in vitro, shortly after its formation, has not only one or two, but may have as many as three or four nuclei.

Can post-tonsillectomy pain be reduced by topical bupivacaine? Double blind controlled trial

1989 ◽  
Vol 103 (6) ◽  
pp. 592-593 ◽  
Author(s):  
N.S. Violaris ◽  
J.R. Tuffin
Keyword(s):  
Normal Saline ◽  
Analgesic Effect ◽  
Controlled Trial ◽  
Prospective Trial ◽  
The Other ◽  
Cent Solution ◽  
Double Blind ◽  
Tonsillar Fossa ◽  
Significant Difference ◽  
Adult Tonsillectomy

AbstractA double blind controlled prospective trial investigated the analgesic effect of topical Bupivacaine in 15 adult patients undergoing bilateral tonsillectomy. Each patient had one tonsillar fossa exposed to Bupivacaine 0.5 per cent solution and the other to normal saline. When visited four to six hours post-operatively, 12 out of 15 patients (80 per cent) stated that the Bupivacaine exposed side to be more uncomfortable than the saline exposed side. On the first post-operative mornning 9 out of 15 patients (60 per cent) confirmed the same. The remaining patients were unable to detect a significant difference and no patient found the Bupivacaine side to be more comfortable.These results suggest that topical Bupivacaine 0.5 per cent solution has no place in providing post-operative analgesia in adult tonsillectomy.

scholarly journals ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ

2020 ◽  
pp. 281-292
Author(s):  
Инна Хатипова ◽  
Keyword(s):  
20Th Century ◽  
Teaching Practice ◽  
Fine Arts ◽  
Piano Music ◽  
The Other ◽  
Original Music ◽  
Musical Language ◽  
Republic Of Moldova ◽  
The Republic ◽  
First Time

In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.

scholarly journals Form(ulat)ing Mistrust in the State in the 1990s’ Slovak Live-Action Films

2017 ◽  
Vol 65 (3) ◽  
pp. 302-315
Author(s):  
Jana Dudková
Keyword(s):  
Education System ◽  
The State ◽  
The Other ◽  
State Institutions ◽  
Relative Truth ◽  
Critical Attitude ◽  
Action Films ◽  
The One ◽  
Live Action ◽  
Made In

Abstract The text deals with the ways in which Slovak live-action films made in the 1990s introduced the topic of mistrust in the State and in its institutions. Using specific examples, the text demonstrates that such mistrust was not primarily a critical attitude, but rather consisted of two basic forms of rejection. On the one hand, live-action films made for cinema often promoted the post-modern principle of a “relative” truth, presenting a lifestyle with minimal ties to the State, sometimes also formulating a mistrust in specific state institutions (the police, state-run artistic institutions, education system) by means of irony. On the other hand, films made for state television frequently drew attention to corruption in state organisations and the fact it was usually being generally accepted as a status that did not need to be analysed. In both cases, the message of the 1990s was carried onto the next millennium, and can eventually be interpreted as a way of solidifying the discourse of mistrust that we perceive in contemporary Slovak film for cinemas and television.

scholarly journals Cartoon Animals vs. Actual Russians

2021 ◽  
Vol 10 (19) ◽  
pp. 4
Author(s):  
Jeffrey Brassard
Keyword(s):  
Cultural Exchange ◽  
Global Market ◽  
The Other ◽  
Global Media ◽  
Writing Quality ◽  
Other Hand ◽  
Different Types ◽  
Russian Media ◽  
Live Action ◽  
Media Market

Despite continual improvements in production and writing quality, live-action Russian series have fared poorly in the global market. While many deals have been struck, Western remakes of Russian series have failed to appear, and live-action programs have failed to find mainstream audiences outside of Russia. Russian animated series, on the other hand, have enjoyed global success. The success and failure of different types of Russian series in the global media market suggests that many of the central problems of cultural exchange remain. Issues related to cost and risk continue to impede the global transfer of live-action series and formats from Russia even as animated series have become the most widely viewed Russian media products in history.

Cinderella and Romeo and Juliet

Tempo ◽  
1949 ◽  
pp. 30-32
Author(s):  
Iris Morley
Keyword(s):  
Soviet Union ◽  
The Other ◽  
Original Music ◽  
New Work ◽  
Romeo And Juliet ◽  
Major Work ◽  
The Past ◽  
Imperial Russia ◽  
The Soviet Union ◽  
Soviet Music

In the Soviet Union of today, as in the Imperial Russia of the past, ballet occupies the position of a major art and enjoys all the privileges of that station, not the least of which is having original music composed for each new work. Few of the distinguished names in Soviet music have not, at some time or other, appeared upon the score for a ballet, and as these are all three or four acts long, composing for the ballet can be compared to writing an opera—a major work requiring time and co-operation with the other arts involved.

scholarly journals A Case for Psychoanalytic Visual Dispositif? : Birdman after the “Cinematographic Capture”

KOME ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 85-100
Author(s):  
Constance Goh
Keyword(s):  
Film Theory ◽  
Comic Book ◽  
The Other ◽  
Subsequent Work ◽  
Popular Imagination ◽  
The Real ◽  
The Gaze ◽  
Reality Effect ◽  
Commercial Value ◽  
Live Action

This paper investigates how the notion of “superhero” in popular imagination, evident in the multiple live-action adaptations of Detective Comic’s and Marvel Cinematic Universe’s comic book heroes for their commercial value, has been debunked by Alejandro Inarritu’s 2014 Birdman. While the aforementioned dream factories affirm the fantasmatic “flight” inherent to these cinematic creations, especially symbolised by the aviating capacities of most of their superheroes, it is Inarritu’s Birdman, although not commercially comparable, that is theoretically significant here: the “flight” motif paradoxically gestures to the “capture” that is the very cinematic essence. Working with some key psychoanalytic theorists of the apparatus and later the suture, I shall argue that the messianic in this film, embodied by the male lead, whose waning career is resurrected from oblivion given Keaton’s subsequent work acknowledgement despite his Oscar nonsuccess, is revealed by this author to be ultimately the cinematographic apparatus that gives us Baudry’s transcendental subject, a concept arguably bound to his cinematic effect, a term with epistemological import. This paper will also redirect attention to the interpretative liberation associated with “flight", insisting that Baudry’s discussion of the cinematic dispositif is among the first to address the real, albeit with an emphasis on intelligibility, so that release from what I call the “cinematic capture”, a term that Todd McGowan defines as “uncritical subjectivity”, can be enacted. This thesis asserts that Birdman, proposed here as a case for psychoanalytic film theory, unintentionally exposes the traumatic real within the imaginary because of cinematic capture, thus leading to this discussion of the gaze, identification, narration, control and desire. In addition, it will appraise what Baudry calls the “knowledge effect” by responding to the following inquiries that encapsulate the critical stake here. How can one call this effect “knowledge” when the “subjective” of the transcendental subject becomes more pronounced with the other title of Baudry’s apparatus theory, which is suture theory? What can one say about the “reality effect” of the apparatus theory in an age of digitisation the emphasis of which is virtuality and, last but not least, can one argue that Inarritu’s Birdman is an illustrative intervention of the digitised post-cinematic?

scholarly journals Appropriation, Rewriting and Alienation: A Postcolonial Critique of Mulan

2021 ◽  
Vol 9 (3) ◽  
pp. 82
Author(s):  
Cheng Yali ◽  
Chen Kaiju
Keyword(s):  
Popular Culture ◽  
Cultural Values ◽  
Folk Song ◽  
The Other ◽  
Traditional Values ◽  
Cultural Industry ◽  
Box Office ◽  
Action Film ◽  
Live Action ◽  
Target Culture

Released in September, 2020, Mulan, a live-action film starring Liu Yifei, was adapted by Disney from the Ballad of Mulan[1]. The film was produced from its animated version Mulan (1998) which hit global box office amounting to 304 million with marvelous reputation. However, the live-action movie Mulan did not continue the brilliant results of the previous work. Instead, Mulan (2020) disappointed most Chinese audience[2] because historical facts and cultural values about Mulan were excessively appropriated, rewritten and alienated. Applying theories of Postcolonialism, this essay analyzes the live-action movie Mulan revealing the ethnocentric abuse of the target culture as the “other”: arbitrary appropriation, rewriting and distortion of its historical events and traditional values. Also, theories of popular culture will be used to analyze the cultural industry strategies applied in this unsuccessful film.[1]the Ballad of Mulan (Chinese: 木兰辞; pinyin: Mù lán cí), a famous folk song of the Northern Dynasty in China.[2]The investment in the live-action film Mulan is as high as US$200 million (about 1.4 billion RMB). As a result, the global box office is less than US$70 million. Also, the score in Douban is only 5.0 points. (the full mark is 10.)Sources:https://new.qq.com/rain/a/20201102A0J6EO00,https://movie.douban.com/subject/26357307/

Stromatoporoids from the Famennian (Devonian) Wabamun Formation, Normandville oilfield, north–central Alberta, Canada

1988 ◽  
Vol 62 (03) ◽  
pp. 411-419 ◽  
Author(s):  
Colin W. Stearn
Keyword(s):  
Patch Reef ◽  
Abundant Species ◽  
The Other ◽  
North Central ◽  
Biotic Crisis

Stromatoporoids are the principal framebuilding organisms in the patch reef that is part of the reservoir of the Normandville field. The reef is 10 m thick and 1.5 km2in area and demonstrates that stromatoporoids retained their ability to build reefal edifices into Famennian time despite the biotic crisis at the close of Frasnian time. The fauna is dominated by labechiids but includes three non-labechiid species. The most abundant species isStylostroma sinense(Dong) butLabechia palliseriStearn is also common. Both these species are highly variable and are described in terms of multiple phases that occur in a single skeleton. The other species described areClathrostromacf.C. jukkenseYavorsky,Gerronostromasp. (a columnar species), andStromatoporasp. The fauna belongs in Famennian/Strunian assemblage 2 as defined by Stearn et al. (1988).

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