scholarly journals Genotoxic Activity of Saccharin, Acesulfame-K, Stevia and Aspartame-Acesulfame-K in Commercial Form

2018 ◽  
Vol 08 (03) ◽  
Author(s):  
Mónica Reynoso Silva ◽  
Carlos Alvarez Moya ◽  
Alexis Gerardo Samano Leon ◽  
Rafael Ramirez Velasco ◽  
Alyssa Mirel Castro Flores
1995 ◽  
Vol 343 (1) ◽  
pp. 1-6 ◽  
Author(s):  
Daniela Modesti ◽  
Caterina Tanzarella ◽  
Francesca Degrassi

2015 ◽  
Vol 14 (4) ◽  
pp. 16585-16593 ◽  
Author(s):  
M.S. Reynoso ◽  
C.M. Alvarez ◽  
L. De la Cruz ◽  
M.D. Escoto ◽  
J.J.G. Sánchez

Author(s):  
Xiansi Zhao ◽  
Zhi Wan ◽  
Gang Chen ◽  
Huigang Zhu ◽  
Shunhui Jiang ◽  
...  

Author(s):  
James W. Allen ◽  
Yousuf Sharief ◽  
Robert J. Langenbach

Author(s):  
A. Carere ◽  
D. Bellincampi ◽  
G. Conti ◽  
L. Conti ◽  
R. Crebelli ◽  
...  

1988 ◽  
Vol 204 (2) ◽  
pp. 235-238 ◽  
Author(s):  
Jacek Jenek ◽  
Philippe Quillardet ◽  
Danuta Chomiak ◽  
Andrzej Borys ◽  
Maurice Hofnung

2018 ◽  
Vol 41 (3) ◽  
pp. 367-384 ◽  
Author(s):  
Keith Negus

This article contributes to research on the changing music industries by identifying three dynamics that underpin the shift towards a post-record music industry. First, it examines how musicians have found themselves redefined as content providers rather than creative producers; a historical change from recorded music as product to content. Second, it focuses on tensions between YouTube and recording artists as symptomatic of disputes about the changing artistic and economic value of recorded music. Third, it extends this debate about the market and moral worth of music by exploring how digital recordings have acquired value as data, rather than as a commercial form of artistic expression. The article explores how digital conglomerates have become ever-more significant in shaping the circulation of recordings and profiting from the work of musicians, and highlights emergent dynamics, structures and patterns of conflict shaping the recording sector specifically, and music industries more generally.


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