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Bone and muscle development are important processes in pubertal maturation. The aim of this study was to investigate associations between pubertal timing and bone density and body composition in young adult men. In this observational study, bone and body composition was cross-sectionally assessed by dual-energy X-ray absorptiometry in 2056 healthy young men with median age 19, who retrospectively self-reported if they experienced pubertal changes at an earlier, similar or later age than their peers. Associations between voice break timing and bone and body composition were analyzed by linear regression. Men reporting earlier voice break than their peers (n = 417, 20%) had higher lumbar bone mineral density (BMD) and higher total body BMD. Apart from higher BMI, there were no differences in body composition. Men who reported later voice break (n = 353, 17%) had lower lumbar bone mineral content, bone area and volume, but similar BMD. They had lower BMI, lean mass and fat mass, resulting in a lower fat-to-muscle ratio. In conclusion, even after adult height has been reached, physiological variations in pubertal timing were associated with differences in bone and body composition in young adult men.

Although, according to the author, much sound research, has been done in the Dufay era in recent years,\" Charles Hamm's book marks the first time an attempt has been made at a comprehensive chronology of the works of this composer. Professor Hamm approaches all Dufay's compositions from the point of view of mensural practice, and has been able to date each piece more precisely than would have been possible in a chronology based on manuscript studies or stylistic analyses. He has divided the works into nine groups, according to details of mensural usage, and on the basis of datable works and other evidence has suggested dates within which the pieces of each group were written. Based on his study of Dufay's mensural practice, the author suggests that the Missa Sancti Antoni and several other works attributed to Dufay may not have been written by him.Originally published in 1964.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Voice over Internet Protocol (VoIP) or Internet telephony has become an evolutionary and promising technology in the area of telecommunications. Lower costs and simpler maintenance are the major reasons of its increasing popularity. However, the network is inherently unreliable and highly challenged when it comes to quality of service (QoS). The VoIP system is primarily a multi-server system which may also face failures. Hence, in order to study the performance of VoIP, it is proposed to develop a multi-server, loss system with general service times, server breakdown and repair together with preemptive priority queuing discipline, for two types of customers: high priority and low priority. The customers are served immediately if the server is available. However, if all servers are busy, then on the arrival of a high priority customer, the service of a low priority customer is preempted. The steady state distribution of such underlying system is obtained together with the performance measures. A numerical illustration of the obtained results is also presented graphically. The results are validated using simulation.

Wireless Mesh Network (WMN) is a multi-hop, multi-path network that has become the most favored method in delivering end-to-end data, voice and video. Data transmission through WMN has the security and reliability, same as the conventional wired networks. Since, WMN has a decentralized topology, maintaining QoS is very crucial. Hence in this work, we propose to develop a WMN that selects services based on high QoS. In order to avoid redundancy in data transmission, in this work we propose to develop an efficient framework for multicasting by determining the most effective path for transmitting the same data towards multiple destination nodes. By simulation results, we show that the proposed technique provides better QoS in terms of throughput and packet delivery ratio.

Arts funding policy has dropped off the national public affairs radar in recent years, and much of the remaining debate continues to take the form of knee-jerk pro and con positions. Economist Cowen (In Praise of Commerical Culture) dismisses such debates at the outset, and goes on to make a case for the current American system, which, unlike the European model, emphasizes indirect, rather than direct, subsidies. Cowen finds that indirect funding-funding arts organizations rather than giving stipends to artists or commissioning works directly-is ultimately beneficial to the development of new artistic forms, and to helping arts endeavors flourish. He devotes significant pages to the history of arts funding in the U.S., including the New Deal-era Works Progress Administration, and also devotes a chapter to copyright, in which he argues that the Internet won't make traditional media and cultural forms disappear. Cowen references a range of well-known performers and artists, from Marian Anderson to Metallica, but the book is written as an academic treatise, with all the form and content constraints that that implies. For those truly interested in the state of America's financial relationship to the arts scene, though, it's a fresh approach.

This chapter explores the gulf between vocal practices and vocal theory as condensed in the theoretical problem of the gap. For Lacanians Mladen Dolar and Slavoj Žizek, the gap is a key construct relative to voice, added to Freudian objects of the drive. What sets voice apart from Freud’s objects is that it loops out of a predetermined causal nexus and signifying chain, leaving a void in meaning and language and creating an irreparable gash in desire. Where Lacanians would understand voice as neither tangible nor perceptible or musical, this chapter hears voice as all three by listening to pressure put on the gap by classical and jazz singing voices that make perspicuous and material their own uncanny means of mechanical operation, especially via the “vocal break.” Prominent is Nina Simone, who lived dangerously in racialized spaces where vulnerability and risk are all-important. Looping in and out of signification, practices like hers expose the gap between signification and its lack while counting on listeners to invest in the performer's aleatory risk-taking. The chapter ends by offering a theory of voice that explains how relations between voice and performance, risk and (re)investment, operate with respect to language, musicality, intentionality, and signification.

Discusses the use of two simple speech sounds--the hum and the trilled \"r\"--to improve vocal technique in voice students and choir members. Explains the reasons why these sounds are effective tools, describes how to produce each sound, and suggests ways to incorporate them in rehearsals.