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Ernst von Dohnányi's proverbially brilliant orchestration skills were already recognized by his contemporaries. His first monographer Bálint Vázsonyi published an anecdote, typical of these opinions, according to which Béla Bartók regarded

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The question of external collaboration in the working out of Ferenc Erkel’s operatic scores had been raised as early as 1861, after the premiere of Bánk bán, but only one hundred years later were the autographs subjected by László Somfai to a critical assessment. His findings induced him to determine Act 2 of the celebratory opera Erzsébet, premiered in 1857, as the first work in which Erkel in part delegated the task of orchestration to his friend Franz Doppler. Dezső Legánÿ later attempted to date the beginning of the “Erkel Workshop” into the year 1844 when Erkel first tried his hand at the then new genre of népszínmü (folk-play). The present paper invalidates Legánÿ’s surmise and on the basis of a meticulous analysis of newly discovered drafts illuminates to which degree and with what method Erkel, then as always pressed for time, was helped out by Doppler in the orchestration of Erzsébet.

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In 1809, E. T. A. Hoffmann declared that the symphony, in the hands of Haydn and Mozart, had become the “opera of instruments.” This view of symphony, which was echoed by other writers of the period, reflected how composers engaged with instruments through orchestration. This essay explores the use of instrumental sonority in the slow movements of Haydn’s later symphonies, in particular looking at the ways in which Haydn’s approach to the orchestra helped cultivate the notion that symphonies unfolded as dramas. This conception of the orchestra and of orchestration informed the language of musical criticism of the early nineteenth century: Hoffmann’s discussions of musical works frequently take the form of operatic plot summaries, in which individual instruments act as characters. The persistence of operatic metaphors suggests that, instead of thinking of this period as the “rise of instrumental music,” it is more accurate to understand it as the rise of the orchestra.

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In the following article, Jarmo Valkola investigates the originality of the Hungarian director Béla Tarr’s filmmaking practice. Tarr represents European pictorialism that is motivated by the commitment to develop and increase the function and effectiveness of images, sounds and performances that aesthetically formulate, translate and change the effects of contemporary cinema to higher dimensions and qualities of art. Tarr emphasises the selective and manipulative role of the camera in orchestrating his narrative concerns. The significance of the form comes forward, and the photographic dimension of the narrative creates static and momentarily captured intensities. Like Jancsó before him, Tarr also invests the narrative with plan-sequences. Some of them can be very long, involving continuous and intricate camera movements, like simultaneous track-tilt-pans, compounded by the ‘virtual’ movement of the omnipresent camera. Tarr’s filmic iconography sets standards for pictorial filmmaking in the sense of an increasingly personal touch of dramatics defining and distilling a cinematic language that is endless in its search for the almost silent colloquy between the artist’s visions and aspirations. Sátántangó, Werckmeister Harmonies, The Man from London, and The Turin Horse are the films referred in this article.

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Journal of Behavioral Addictions
Authors:
Florent Wyckmans
,
Nilosmita Banerjee
,
Mélanie Saeremans
,
Ross Otto
,
Charles Kornreich
,
Laetitia Vanderijst
,
Damien Gruson
,
Vincenzo Carbone
,
Antoine Bechara
,
Tony Buchanan
, and
Xavier Noël

orchestrated in GD according to a hybrid-RL 7-parameter computational model and whether PG were more sensitive than HC to the deleterious influence of stress on this dynamic. This is the first study to our knowledge that investigated the impact of stress on

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orchestration could have been completed at the opportune moment (that is, significantly earlier, in fact as early as 1920) and the initial performance would have taken place at a fitting venue such as in liberal Berlin rather than in the conservative Cologne

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are considered to represent the most abundant species. The relationship between the gut microbiota and the host immune system The well-orchestrated interplay between the commensal intestinal bacteria

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European Journal of Microbiology and Immunology
Authors:
Vishwa A. Khatri
,
Sambuddha Paul
,
Niraj Jatin Patel
,
Sahaja Thippani
,
Janhavi Y. Sawant
,
Katie L. Durkee
,
Cassandra L. Murphy
,
Geneve Ortiz Aleman
,
Justine A. Valentino
,
Jasmine Jathan
,
Anthony Melillo
, and
Eva Sapi

-negative breast cancer cell lines with the goal to propound the molecular mechanisms that may orchestrate the effect of B. burgdorferi on breast cancer cells. Materials and methods Culture techniques and infection with B. burgdorferi The B31 strain of B

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have a few years' fashionable “comeback” at the end of the 1940s and the very beginning of the 1950s. In that regard, it is also significant that Júlia Hajdu's teachers are Pál Kadosa, Zoltán Kodály, and György Ránki, and she studies orchestration from

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This essay joins with others in exposing and critiquing problems with neoliberalism in the orchestration of society. Using rhetorical theory both ancient and contemporary that relates rhetoric to the gift and giving, this essay shows the inhospitable rhetorical dynamics of neoliberalism and explores the rhetorical possibilities of transformation through allo-liberalism, a turn to the other with liberality, generosity, and love.

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