analytic review is to conceptualize the ways that race may influence the psychedelic experience, specifically as a component of the extrapharmacological factors broadly referred to as “set and setting” ( Hartogsohn, 2016 , 2017 ). In turn, I suggest that
Authors:Gemma Mestre-Bach, Gretchen R. Blycker, and Marc N. Potenza
strategy. People with PPU may also relapse to pornography use in the setting of feeling powerless, hopeless, and disconnected from 12-step support systems, as has been seen in substance addictions ( Donovan, Ingalsbe, Benbow, & Daley, 2013 ; Blycker
Folksong settings are usually the least appreciated works of a composer. Focusing on Béla Bartók's guiding principles in creating folksong settings, the author examine the motivations that have driven other composers to use folk material in their works. The spread of the idea of nationalism, resulting in the endeavor to create an idiomatic national language of music played the lead in many cases. But the folksong as an exotic object also exerted an enormous appeal on composers and audiences alike, making folksong settings generally, but not always, a profitable undertaking as well. In the long run, the artistic quality of the folksong, its expressive power despite its succinct form, fascinated composers and inspired them to create a wealth of folksong settings.
Performance markings in the vocal lines of Bartók’s compositions are surprisingly sparse compared to how carefully the instrumental parts are furnished with detailed instructions to indicate the desired interpretation. The few markings in vocal parts, especially in the folksong settings, are mostly meant to create special effects. One possible explanation for this discrepancy might be found in the spontaneous, simple performance of the folk singers Bartók came across during his research. He presumably intended his vocal folksong settings to be performed in the same unaffected way that characterized the original folk performance. Comparison of recordings of folksongs and the sound recordings that preserved Bartók’s vocal folksong settings with the composer at the piano can put this assumption to the test.
succession of Gorski Kotar reveals the typical sedimentary signature of the
inner Adriatic Carbonate Platform realm. On the basis of its facies
characteristics eleven informal lithofacies units can be distinguished. By
origin, they are grouped into three depositional settings that alternated over
the spacious Adriatic platform area during the Jurassic. These are: (1)
subtidal below fair-weather wave-base to higher-energy subtidal above
fair-weather wave-base, (2) subtidal below fair-weather wave-base with episodic
higher-energy influences and (3) peritidal. The alternation of depositional
settings reflects periods of intensive, large-scale regional tectonic movements
during the geodynamic evolution of the western Neo-Tethys region, such as the
opening/closing of the Dinaridic branch of the Neo-Tethys and opening of the