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A musical arrangement devoid of words consisting in an extreme simplification of the original melody, which does not reveal the richness and texture of the original music, thus transforming and trivialising the work and not merely consisting in a fragmented reproduction of said work, infringes the author’s moral rights and requires his (or his successor’s) authorisation.

Some causal relations seem more fundamental and less accidental to us than others. And some causes generate a remarkable variety of specific effects, whereas others seem less specific. Stegmann distinguishes between two causal structures at the level of ensembles of cause-effect pairs.He argues that one of the structures captures one distinct sense in which causes can plausibly be construed as 'controlling' their effects. He then applies this account of causal control to genetic causation, arguing that claims about the controlling and informational role of DNA can be shown to have precise, empirical content.

This article provides an overview of the free Lisp-based, cross-platform, visual programming environment called PWGL (the name is an acronym for PatchWork Graphical Language). PWGL can be used for computer-aided composition, music analysis, and sound synthesis.

The heyday of self-playing or automatic musical instruments in the United States roughly coincided with the introduction and industrialization of recorded sound, that is, from approximately 1880 to 1930. During this time, thousands of automatic pianos, music boxes, and orchestrions were imported to and constructed in this country, and they were important to American technological, musical, and social life. When phonographs finally usurped the position of automatic instruments in musical life, the instruments fell into disuse and were largely discarded until there was a resurgence of interest in them by collectors and historians in the 1950s; many instruments were lost before then to the ravages of neglect and sometimes purposeful destruction, so what machines are left are rare, valuable, and mostly in the hands of private collectors. Many books have appeared since the 1950s chronicling the technology and business of mechanical music, but most of these have been written from collectors' viewpoints, and the history provided focuses on mechanical information and, to a lesser extent, where the instruments were originally located. Here, Carli discusses Henry Clay Frick and American millionaires living with mechanical music from 1972-1919.

Spiny keratoderma is a rare disease; first described by Brown as \"punctuate keratoderma\". It is characterized by asymptomatic keratotic pin point papules over palms and soles, resembling the old fashioned music box spine. The spiny spicules are often misdiagnosed and has a very subtle histopathological difference from punctate porokeratosis. With only less than 40 cases reported worldwide, we report our case as the very few mentioned in Indian literature.

This article analyzes the ways in which a group of American leftwing composers and intellectuals, most notably Charles Seeger and Henry Cowell, as well as anthropologist Melville Herskovits, turned music into a political and policy tool during the New Deal years and World War II, thereby helping to create the cultural, intellectual, and institutional foundations for the cultural Cold War. It explores how under diverse national and international cultural influences the composers tried to find a new national idiom, and finally explored notions of cultural pluralism tied to humanist universalism as a bond between America's different population groups. When the war shifted the focus toward countering what the government perceived as a threatening German and Italian cultural infiltration of its Latin American neighbors, the composers were marshaled to serve the U.S. government's first official cultural foreign policy. Now headlined under the notion of an internationalist cultural pluralism, music seemed especially well suited to function as a universal lingua franca to counter Axis claims to it and provide the needed cultural bond for the creation of a defensive hemispheric ecumene. At stake here was nothing less than the definition of American national identity and its role in the world. However, the effort to use American music to build and consolidate hemispheric and global alliances by projecting an image of U.S. pluralist, i.e., anti-racist and egalitarian, intentions also revived and extended hegemonic claims.

Pawel Pawlikowski’s Ida (2013) examines the unique state of displaced persons living in post-WWII communist Poland, a time and place where survival and security required constant dissembling. Through its focus on Anna (Agata Trzebuchowska), a novice nun with a secret identity as Ida Lebenstein, and her aunt Wanda (Agata Kulesza), a former state prosecutor, the film emphasizes the role of the two greatest powers in Poland at the time, the Roman Catholic Church and the Communist Party, while simultaneously exhibiting the tension between public and private life under a repressive regime. The film’s portrayal of Polish society at the time is emphasized through such formal elements as a monochromatic color palette, off-center framing, spare dialogue, and silence.

The score is a general framework for music writing in which this integration of musical material and the related issues of time representations should be carefully considered. Regardless of whether it concerns instrumental or electro-acoustic music, this document is of major importance as a formal support and a preferred place for musicians to write, read, and think about music.

Levin shares several anecdotes of her life, including a story in which she was able to deceive her mother about using an alias for her writing. Seeing an advertisement for would be writers, she filled out the coupon using an alias and sent it to the company. Her mother never noticed how she was able to slip her letters using her alias, thus she was mortified when a man came knocking one day looking for Kamal Amara, the name she used as her alias. After being told by her mother that no one by that name lives there, the man left. She was compelled to let the man know that it was her, but if her mother knew who she was, she would have nothing, thus losing the line between them and relinquishing her bridge into the world.