Neural Plasticity in a French Horn Player with Bilateral Amelia

Precise control of movement and timing play a key role in musical performance. This motor skill requires coordination across multiple joints, muscles, and limbs, which is acquired through extensive musical training from childhood on. Thus, making music can be a strong driver for neuroplasticity. We here present the rare case of a professional french horn player with a congenital bilateral amelia of the upper limbs. We were able to show a unique cerebral and cerebellar somatotopic representation of his toe and feet, that do not follow the characteristic patterns of contralateral cortical and ipsilateral cerebellar layout. Although being a professional horn player who trained his embouchure muscles, including tongue, pharyngeal, and facial muscle usage excessively, there were no obvious signs for an expanded somatosensory representation in this part of the classic homunculus. Compared to the literature and in contrast to control subjects, the musicians’ foot movement-related activations occurred in cerebellar areas that are typically more related to hand than to foot activation.

The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)

Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.

Pectin Strength of Common Varieties of Plantain Peels Used in the Production of Jam/Marmalade

The pectin strength of peels from four plantain cultivars; Horn Plantain (sample B), French Plantain (sample C), False horn Plantain (sample D), and French Horn Plantain (sample E) and its effect on Jam and Marmalade produced was investigated. Pectin was extracted from the plantain peels with distilled water and EDTA at pH 4.3 and 60°C, precipitated with acidified ethyl alcohol and 0.5N HCl. The pectin strength of peels from the French plantain (sample B) was higher than the others. Peels from False horn and French horn plantain both had medium pectin strength. Jam and marmalade produced were evaluated for proximate composition, chemical properties and acceptability. Jam and Marmalade from sample C were high in moisture content with mean values of 43.19 and 41.33%, respectively. Sample E (in both variants) had significant high crude protein (0.33%) compared to all other samples. Marmalade samples had crude fiber values ranging from 0.75% for sample B to 2.25% for sample E. The ash and carbohydrate content of jam and marmalade produced with pectin from French Plantain, False Horn Plantain and French Horn Plantain were significantly higher than the commercial jam and marmalade. Crude fat ranged from 0.45 to 1.15% for both variants (jam and marmalade). They both recorded low protein contents ranging from 0.14 to 0.32% and 0.16 to 0.33% respectively but high carbohydrate content ranging from 50.97 to 67.48% and 52.29 to 69.41% respectively. pH content maintains 3.0-3.10% for all samples. Total sugar content ranged from 55.00 to 63.80% for both Jam and Marmalade. Sample C was most preferred in terms of colour, taste, aroma, appearance, spreadability and overall acceptability, for Jam and Marmalade. All its sensory attributes were compared favorably with the commercial brands. Pectin extracted from plantain peel is strongly recommended for use as gelling agent in Jam and Marmalade production.

Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians

AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper extremity. Pain intensity during the last 7 days was measured by an 11-point numeric rating scale (NRS) with a score from 0 to 10, as well as was disadvantage at work and leisure. RESULTS: Of the interviewed musicians, 20% presented playing-related musculoskeletal disorders at the time of the interview. Compared to other professional orchestra musicians, violin and viola players reported significantly more intense pain in the hand during the last week. Also, they had experienced more frequent neck pain ever and in 5 years than the others. During the past 30 days, violin and viola players had also perceived more harm in their upper limb joints. Violin/cello and violin/French horn players did not differ from the others. CONCLUSIONS: Our study showed that musicians playing the violin or viola have more intense hand pain and more frequent neck pain than other musicians, but these seem to disturb their daily tasks only a little.

Sir Anthony Seymour Laughton. 29 April 1927—27 September 2019

Anthony (Tony) Laughton was an oceanographer who promoted the science of oceanograpy in Britain. Focusing on the shape of the seafloor, his work included underwater photography, ocean drilling, long-range side-scan sonar and scientific charting of the ocean floor. Following undergraduate studies at King's College, Cambridge, he joined Maurice Hill (FRS 1962) at the Cambridge Department of Geodesy and Geophysics, beginning a career in marine geophysics. Following his PhD, he spent a year at Lamont Geological Observatory, USA, where he met many leading US workers, and became interested in deep-seafloor photography and bathymetric mapping. Returning to the UK, he joined the National Institute of Oceanography (Institute of Oceanographic Sciences from 1973) at Wormley, Surrey, and became director in 1978. He developed the first UK seafloor camera, was an enthusiastic supporter and user of the revolutionary Precision Echo Sounder and later of the GLORIA long-range side-scan sonar. He played a significant part in the International Indian Ocean Expedition, subsequently developing a new understanding of the Gulf of Aden. A consummate committee man, he had a vital role in reviving the General Bathymetric Chart of the Oceans and promoted UK involvement in the international Deep-Sea Drilling Project. He was an accomplished amateur musician (playing French horn), small-boat sailor and handyman.