Reproduction performance means of the piano work texture program (on the example of the cycle “Shevchenko’s Suite” by B. Liatoshynskyi)

The article is devoted to revealing the peculiarities of the texture program performance reproduction of a musical work. Based on the consideration of the textural program as a sequence of changes in the musical performance during the process of developing the form of the work, the performer-pianist must build the appropriate means of performance: artistic and technical ones. An important role here belongs to the author and the editorial remarks, the content of which, however, is quite conditional and requires individual performance correction. The topicality of the chosen topic lies in the need for in-depth consideration of the problems of musical texture and its attributes in the piano-performance specification. The purpose of the research is to identify the performance component of the piano work textural program, to propose an algorithm for its analysis on a specific example of B. Liatoshynskyi’s cycle. The methodology: the article uses a set of general scientific and special musicological approaches for developing the content of the stated topic. Among them are the following methods: systematic and structural method, it is aimed at revealing the essence of the phenomenon of the musical work textured program; a deductive method, it determines the course of research in the direction from a general part (textural program of a musical work) to a special (specificity of textural performance during a piano work) and a specific one (textural programs of plays of the cycle by B. Liatoshynskyi); genre and stylistic types of analysis from the point of view of reproduction of these phenomena in textural programs; texture analysis as a kind of musicological analysis; performance analysis, which is aimed at identifying the features of the textural attributes of the work under consideration. The results of the study show that the process of a piano work performance in the direction of its full interpretation is inseparable from analytical observations on the texture program and its attributes. The set of analytical and performance-technical procedures has as its ultimate goal the act of performing a piano work, in which the composer’s intentions are reproduced by means of the individual style of the pianist. The novelty of this study is the extrapolation of ideas about the piano work textural program on the interpretive activities of the performer. Embodying own understanding of the textural process and its attributes in the interpretation, the performer demonstrates personal version of the work sound image, revealing the means of the drama and composition art features. The practical significance of the study lies in the possibility of using its provisions and conclusions in the courses “Musical Interpretation”, “Analysis of Musical Works”, “History of Piano Performance”, as well as in classes specializing in “piano” for bachelors and masters of the higher educational institutions of art and culture of Ukraine. Conclusions. Thus, the concept application of the piano work “texture program” in relation to the activities of the performer-interpreter raises a number of issues related to the means of the performance center: dynamics, articulation, agogics, in their vision by the musical composer and directly the performer. In this context, the identification and implementation of the piano work textured program gives the key to the disclosure of its ideological and artistic content, a clear understanding of the drama and form features, implemented in the act of performance.

Replacement of meat by mycoproteins in cooked sausages: Effects on oxidative stability, texture, and color

Processed meat is one of the most consumed products worldwide. Naturally, production of proteins with animal origins includes limitations such as costs, energy, time, and environmental problems. Thus, replacement of meats by alternative biomaterials such as mycoproteins can be promising. Mycoproteins with hyphal morphologies, including branches and lengths, have close structures to meat and can be a potential alternative for meat products. Therefore, the major objectives of this study included complete replacement of sausage meats by mycoproteins and comparing characteristics of the novel formula with those of meat. In general, physicochemical, microbial, nutritional, and mechanical characteristics of the formulas were assessed. Results showed that the mycoprotein substitution improved the nutritional and health effects due to the higher valuable protein and lower lipid contents. Besides, it had a high content of essential amino acid and unsaturated fatty acid, compared to meat sausage. Absence of yeasts, molds, Salmonella spp., Eshrichia (E.)coli, and Staphiloccocus (S.)aureus verified the effectiveness of the heat treatment and also the effectiveness of the hygienic procedures in both samples. With regard to phycicochemical properties, more contents of moisture and lipids in sausages containing mycoprotein were linked to further water binding capacity (WBC) (P < 0.05) and oil binding capacity (OBC) in them, compared to beef samples. Besides, the mycoprotein sample had lower (P < 0.05) values of carbohydrates, ash, and pH, compared to the beef sample. In contrast, beef sausages had better textural characteristics, such as hardness, cohesiveness, gumminess, and springiness indexes, compared to mycoprotein sausages. Higher water and OBC values of the mycoproteins led to the filling of the protein interstitial spaces as well as decreasing of the textural attributes. Thus, it resulted in the use of less oil and water in mycoprotein formulations. In conclusion, mycoproteins can be addressed as appropriate replacements for meats in sausages.

The Effect of Steaming Time on the Textural Characteristics of Two Sweet Potatoes with Different Flesh Colors

<p>Sweet potatoes have varied physical characteristics based on their flesh colors. Two selected sweet potato (SP) with white (WF) and yellow-fleshed (YF) colors were collected from local market and analyzed their textural characteristics using a Uniaxial compression and Texture Profile Analysis (TPA) test. The study was conducted in the Food Processing Technology Laboratory, Faculty of Food Science Technology, University of Putra Malaysia. All textural attributes were collected from the samples treated with steaming for 5, 10, 15 and 20 min. The moisture content of the samples were determined before and after steaming. The results showed that the moisture content of WF was lower than YF both before and after steaming, which could be declared as a typical moisture content for each flesh color. This resulted in a greater peak deformation or firmness of the fresh tuber found in WF relative to YF. Steaming SP for 5 min exhibited the “raw” properties tissue, whereas steaming for more than 10 min would generate the “cooked” tissue that significantly affected the textural characteristics. The hardness level decreased considerably along with the time of steaming and was similar for both flesh colors after 15-min steaming. The WF was less adhesive and less elastic; however, it had less chewiness than that of YF. This suggests that the use of WF as a raw material for mashed products would have advantages, such as easiness to mash, less tendency to stick with the cooking tools, and less elastic. <br /><br /></p>

Recent Progress on Improving the Quality of Bran-Enriched Extruded Snacks

The incorporation of milling by-products, in particular bran, into starch-based extruded snacks allows manufacturers to address two consumer demands at once, i.e., those for goods that are more sustainably produced and of higher nutritional value. However, the higher fiber content in bran than in refined cereal flours poses a limit to the amount that can be included without compromising the quality of extruded snacks, which crucially depends on expansion. Thus, several studies have focused on the effect of bran on the physicochemical characteristics of extruded snacks, leading to the need to review the recent findings in this area. Opportunities, challenges, and potential solutions of bran-enriched snacks are addressed, and several current knowledge gaps are highlighted. Specifically, the first part of the review presents the effects of extrusion cooking on bran’s compositional aspects, focusing on structural changes and product quality. After summarizing the main quality traits of extruded snacks (e.g., expansion rate, bulk density, and textural attributes), the effects of bran enrichment on the physical and sensory characteristics of the final product are discussed. Finally, bran pre-treatments as well as processing optimization are discussed as approaches to improve the quality of bran-enriched snacks.

​Bioactive Compounds from Selected Fruits Improve Quality and Oxidative Stability of Wallago Attu Fish Nuggets

Background: This study determined the potential of fruit powder as natural preservatives in fish nuggets and indicated that fruit powder can successfully be incorporated in them without altering their acceptability. Additionally, a comparative study was carried out to find which fruit powder has the best antioxidant and antimicrobial activity, contributing towards the stability of the nuggets. Methods: The guava (Psidium guajava L.) powder, bael (Aegle marmelos L.) pulp powder and dragon fruit (Hylocereus undatus L.) peel powders were incorporated at the rate of 1.5% (w/w) respectively in fish nuggets and its effects on various physico-chemical, textural and sensory attributes of products were evaluated against control. Result: Incorporation of fruit powder significantly (P less than 0.05) increased emulsion stability, cooking yield, moisture, fat and protein percentage. Textural attributes were improved in treated nuggets, however overall acceptability scores were significantly (P less than 0.05) higher for control as adjudged by the panelists. Fruit powder was found to slow down the lipid peroxidation of fish nuggets, as measured by thiobarbituric acid (TBA) value. They also maintained the microbial stability of nuggets upto 10 days during refrigerated storage (4±1°C).

Scenographic Charac-ters of Tetiana Medvid. Figural, Architectural and Textural Attributes

The article for the first time examines the scenographic projects of Tetiana Medvid, which were created during the 70–90s of the XX century, in the theaters of Ukraine, with different directors, but united by one artistic technique — the creation of scenographic characters in the form of figural, architectural and textural elements of the stage scenery, which act as separate material characters and reveal the idea of the play. The purpose of the article is to find out the function of scenographic characters — created by figural, architectural and textural elements of stage scenery in the creative works of Tetiana Medvid within the system of effective scenography in terms of creating a visual image of the play. The subject of research — scenographic projects of Tetiana Medvid: “Threepenny Opera” by B. Brecht (1975), “Living Corpse” by L. Tolstoy (1975), “Do not shoot at white swans” by B. Vasilyev (1977), “Interrogation” by S. Rodionov, D. Liburkin (1979), G. Ibsen’s “Hedda Gabler” (1993), “In the Labyrinth” by V. Vynnychenko’s play “Nailed” (1996), “Christian’s Dreams” by H. Ch. Andersen, “Ole Lukoje” (1995), “Tartuffe” by Moliere (1999) on the stage of the Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre; and “Caligula” by Albert Camus (1998) at the Donetsk National Academic Ukrainian Musical and Drama Theatre named after Artem. Research methodology — use of the method of primary sources, conceptual analysis, the method of theoretical generalization. Results. It is determined that the main expressive element of most scenographic projects of T. Medvid were scenographic characters of different typological series, in particular characters in the form of figural, architectural and textural elements of stage scenery, and the basis of Tetiana Dmytrivna’s work were the principles of visual directing: idea, thought. Novelty. For the first time in Ukrainian art history, one of the typological series of the main means of expression of the outstanding scenographer — T. Medvid — was analyzed and systematized, namely — scenographic characters in the form of figural, architectural and textural elements of stage scenery. The practical significance lies in the possibility of using the presented information in scientific researches of art and theater studies, as well as collected and meaningful factual and illustrative material has the opportunity to become an integral part in further study of the work of scenographers of Ukraine.

SPGAN: Face Forgery Using Spoofing Generative Adversarial Networks

Current face spoof detection schemes mainly rely on physiological cues such as eye blinking, mouth movements, and micro-expression changes, or textural attributes of the face images [9]. But none of these methods represent a viable mechanism for makeup-induced spoofing, especially since makeup has been widely used. Compared with face alteration techniques such as plastic surgery, makeup is non-permanent and cost efficient, which makes makeup-induced spoofing become a realistic threat to the integrity of a face recognition system. To solve this problem, we propose a generative model to construct spoofing face images (confusing face images) for improving the accuracy and robustness of automatic face recognition. Our network structure is composed of two separate parts, with one using inter-attention mechanism to obtain interested face region, and another using intra-attention to translate imitation style with preserving imitation style-excluding details. These two attention mechanisms can precisely learn imitation style, where inter-attention pays more attention to imitation regions of image and intra-attention learns face attributes with long distance in image. To effectively discriminate generated images, we introduce an imitation style discriminator. Our model (SPGAN) generates face images that transfer the imitation style from target to subject image and preserve the imitation-excluding features. Experimental results demonstrate the performance of our model in improving quality of imitated face images.