Musicology Australia最新文献

{"title":"Protective effect of resveratrol on rat cardiomyocyte H9C2 cells injured by hypoxia/reoxygenation by regulating mitochondrial autophagy PTEN-induced putative kinase protein 1/Parkinson disease protein 2 signaling pathway.","authors":"Zhao Lixia, Sun Wei, Bai Decheng","doi":"10.19852/j.cnki.jtcm.20220311.002","DOIUrl":"10.19852/j.cnki.jtcm.20220311.002","url":null,"abstract":"<p><strong>Objective: </strong>To investigate the protective effect of resveratrol on cardiomyocytes after hypoxia/ reoxygenation intervention based on PTEN-induced putative kinase protein 1/Parkinson disease protein 2 (PINK1/PARKIN) signaling pathway.</p><p><strong>Methods: </strong>3-(4,5-Dimethylthiazol-2-yl)-2,5-diphenylte-trazolium bromide was used to detect the effect of resveratrol on the viability of H9C2 cells; the hypoxia/ reoxygenation (H/R) model was established in tri-gas incubator; 2', 7'-Dichlorofluorescin diacetate staining was used to measure the content of reactive oxygen species (ROS); the changes of mitochondrial membrane potential was determined by 5,5',6,6'-Tetrachloro-1,1',3,3'-tetraethyl-imidacarbocyanine iodide staining; the changes of mitochondrial respiratory chain complex activity was evaluated by enzyme activity kits; flow cytometry was used to detect the ratio of apoptotic cells; transmission electron microscope was used to observe the ultrastructure of H9C2 cells; Western blot was used to detect the protein changes of mitochondrial 20 kDa outer membrane protein (TOM20), translocase of inner mitochondrial membrane 23 (TIM23), presenilins associated rhomboid-like protein (PARL), PINK1, PARKIN and mitofusin 1 (Mfn1), mitofusin 2 (Mfn2), phosphotyrosine independent ligand for the Lck SH2 domain of 62 kDa (P62), microtubule-associated protein 1 light chain 3 beta (LC3B); the mRNA levels of PINK1 and PARKIN was detected by quantitative polymerase chain reaction; immunoprecipitation assay was used to detect the interaction between PARKIN and Ubiquitin.</p><p><strong>Results: </strong>Resveratrol could inhibit the proliferation of H9C2 cells in a time- and concentration- dependent manner; however, pretreatment with low cytotoxic resveratrol could reduce the H/R-induced increase in cellular ROS levels, alleviate the loss of mitochondrial membrane potential induced by H/R, inhibit H/R-induced apoptosis of H9C2 cells, and protect the mitochondrial structure and respiratory chain of H9C2 cells from H/R damage. Resveratrol could further increase the levels of p62, PINK1, PARKIN protein, the expression of PINK1, PARKIN mRNA and the ratio of LC3BⅡ/LC3BⅠin H/R-induced H9C2 cells, inhibit the interaction between PARKIN and Ubiquitin in H/R-induced H9C2 cells, and further reduce the expression of TOM20,TIM23, PARL, Mfn1 and Mfn2 protein in H/R-induced H9C2 cells. The effect of resveratrol is consistent with that of autophagy activator on H/R-induced H9C2 cells.</p><p><strong>Conclusions: </strong>Resveratrol can protect H9C2 cells from H/R injury, which may be related to resveratrol promoting mitochondrial autophagy by activating PINK1/PARKIN signaling pathway.</p>","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"18 1","pages":"176-186"},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11393821/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81639784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A History in Blue Pencil: Cyril Monk’s Performance Annotations and a Bygone Musical Style","authors":"J. Russoniello","doi":"10.1080/08145857.2022.2113211","DOIUrl":"https://doi.org/10.1080/08145857.2022.2113211","url":null,"abstract":"Abstract Australian violinist Cyril Monk (1882–1970) was described in the 25 July 1920 edition of Sydney’s Sun newspaper as ‘one of the best-known violinists in the Commonwealth’. Although he is an unfamiliar name today, Cyril Monk was a prolific recitalist, chamber musician, orchestral leader, and lecturer, as well as a pioneer in the presentation of Australian music. As Monk’s early musical training and most of his long professional career took place in Sydney, his individual playing style offers a perspective on the performing traditions of this time and place. Due to the scarcity of recordings of Australian artists before 1940, how Cyril Monk and violinists of his generation sounded is a mystery today. This article surveys Cyril Monk’s published editions as well as recently discovered annotated scores to document aspects of a string performance style which has been all but forgotten. Extant materials and a surviving recording from Cyril Monk’s musical life provide a snapshot of his individual playing style and of the performance culture in which he operated.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"79 - 103"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48709365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Creation of the ABC Studio Orchestras, 1935–1945","authors":"Kenneth W. Morgan","doi":"10.1080/08145857.2022.2077592","DOIUrl":"https://doi.org/10.1080/08145857.2022.2077592","url":null,"abstract":"Abstract This article analyses the creation of studio orchestras by the Australian Broadcasting Commission (ABC) as part of a policy of musical federalization. The orchestras were created in the decade after 1935 in all six Australian states, and later expanded to form state symphony orchestras for radio broadcasting and for public performances in concerts. The article argues that the combined effort of a group of men appointed to managerial and controller positions in the ABC was responsible for the oversight of the founding of the studio orchestras; that they spread the available musical talent across the six states; and that they succeeded in their attempt to stimulate public demand for listening to orchestras on radio by paying close attention to the musical capabilities of conductors and thorough auditioning of players joining the orchestras. Within a decade after their foundation, the studio orchestras became permanent ambassadors for the programming of live classical music on the ABC's radio stations.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41915255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Messiaen’s Australian Birds: The Impact of H. Sydney Curtis","authors":"H. Taylor","doi":"10.1080/08145857.2022.2111594","DOIUrl":"https://doi.org/10.1080/08145857.2022.2111594","url":null,"abstract":"Abstract Australian birds feature prominently in Olivier Messiaen’s birdsong transcriptions and compositions, especially in the final works, including his masterpiece Éclairs sur l’Au-delà …. This article catalogues the composer’s Australian birdsong phrases and, when possible, identifies their sources. In particular, it reviews the correspondence between Messiaen and ornithologist H. Sydney Curtis, which spans from 1981 to 1989. Of the dozen letters held in a private collection, ten were exchanged between Messiaen and Curtis, whilst two were exchanged between Curtis and Messiaen’s second wife, Yvonne Loriod. Traces of the ornithologist’s impact on the composer can be found in Messiaen’s compositions, cahiers, and Traité de Rythme, de Couleur, et d’Ornithologie, demonstrating Curtis’s influence to be more significant than previously recognized.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"58 - 78"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47105899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rave Music as Top Forty Pop","authors":"Adrian Renzo","doi":"10.1080/08145857.2022.2090700","DOIUrl":"https://doi.org/10.1080/08145857.2022.2090700","url":null,"abstract":"Abstract The late 1980s and early 1990s saw a marked increase in the number of rave tracks appearing on the UK Top Forty chart. This music appeared to have little to do with conventional song forms. Rave tracks often lacked vocals, foregrounded left-field synthesizer sounds, and eschewed the verse–chorus structures that had dominated the charts since the 1970s. This article asks: is it possible that rave music overlapped in some ways with Top Forty pop songs? I will argue that the answer to this question is a qualified ‘yes’, and that certain types of rave music functioned as a type of pop music. Rave tracks may have initially seemed quite alien to the pop charts, but they actually replicated several conventions of mainstream Western pop songs. In particular, they frequently adopted a structure resembling the verse–chorus form: verses were replaced by ‘rave’ sections, while choruses were replaced by vocal hooks, samples of existing songs, and other signifiers of pop familiarity. The article constitutes a preliminary attempt to analyse how electronic dance music functions when it is heard away from the dance floor.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"43 - 57"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44746043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Professional Pathways for Musicians with Disability in Victoria, Australia","authors":"Anthea Skinner, G. Thompson, Katrina Skewes McFerran","doi":"10.1080/08145857.2022.2088930","DOIUrl":"https://doi.org/10.1080/08145857.2022.2088930","url":null,"abstract":"Abstract The work of disabled musicians has become the focus on of an increasingly large body of academic work; however, existing literature rarely provides details about the educational experiences of these musicians, or how disability impacted these experiences. This study interviewed eleven performing musicians living with disability in Australia to elucidate the barriers and enablers that they faced in their music educations and careers. We developed a ‘nested model’ based on a qualitative narrative analysis which identified barriers and enablers coming from ‘the musician’, ‘the self’, ‘other people’, and ‘the system’. We used this model to draw out further themes and counter-themes across the interviews to begin to illuminate the barriers. Each of our participants was able to identify numerous barriers to access, which they had experienced during their musical careers. Despite this, ten of our eleven participants continued to find ways to participate and express their creativity in musical activities, and they provided many practical suggestions for improving access. Future studies that seek perspectives from disabled music students, or those who are in the early stages of their careers, may provide further insights to better understand barriers and enablers.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"44 1","pages":"21 - 42"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48728636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Morceau de Concours (2007): Recycling, Transcription and the Concert-Paraphrase in the Music of Roger Smalley (1943–2015)","authors":"Adam Pinto","doi":"10.1080/08145857.2021.2010895","DOIUrl":"https://doi.org/10.1080/08145857.2021.2010895","url":null,"abstract":"Abstract The recycling of pre-existing material in pianist-composer Roger Smalley’s compositional process is an important characteristic of his output. Such a broad assertion, however, encompassing a range of examples exhibiting varying degrees of re-contextualization, perhaps risks diminishing the sophistication of his compositional process. Smalley’s final work for solo piano, Morceau de Concours (2007), is a transcription of material from his Piano Concerto No. 2 (2004). This article explores both the process of this transcription and the compositional process of the piano concerto. Although Smalley’s sketches contain no explicit indication of how Morceau de Concours was constructed, through the examination of primary sources, this article illustrates that the work should be considered a concert-paraphrase, despite the directness of its transcription. Smalley’s continuing preoccupation with process rather than style will be evaluated in relation to his compositional influences and will be placed in context with other late twentieth-century piano music.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"131 - 155"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44927131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Exiled from the Musical Activities of His Homeland’: Dean Dixon in the Australian and African American Press During the Era of Immigration Reform","authors":"C. Coady","doi":"10.1080/08145857.2022.2042056","DOIUrl":"https://doi.org/10.1080/08145857.2022.2042056","url":null,"abstract":"Abstract During the 1960s, international and domestic pressure on the Australian government led to a softening of restrictive immigration practices that had played a key role scaffolding what is commonly referred to as the White Australia policy. The appointment of Dean Dixon—an African American expatriate—to lead the Sydney Symphony Orchestra in 1963 was celebrated by both the government and a cohort of journalists in the Australian press as an important milestone in the immigration reform effort. In this article, I discuss the paradox of how Dixon’s appointment allowed notions of a racially progressive society to circulate in the Australian press in ways that simultaneously entrenched what Gwenda Tavan refers to as the ‘indices’ of ‘whiteness’ and ‘Britishness’ anchoring assimilationist thought. I then outline how the African American press, in contrast, framed Dixon’s work abroad as a challenge to ideologies of white supremacy. Threading these two stories of Dixon’s migration together reveals different views on the possibilities bound up in his appointment and a fundamental tension between the Australian and African American press’s understanding of the kind of cultural work Dixon undertook while leading the Sydney Symphony Orchestra.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"1 - 21"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42622438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women in World War II RAAF Bands: An Untold Story","authors":"Anthea Skinner","doi":"10.1080/08145857.2021.2000849","DOIUrl":"https://doi.org/10.1080/08145857.2021.2000849","url":null,"abstract":"Abstract Existing research into Australian defence force bands, including that published by the Australian Defence Force itself, assumes that women were not eligible to join mainstream military bands until the 1980s. Prior to this, it was thought women’s involvement in music in the Australia defence forces was limited to concert parties and membership of women’s auxiliary ensembles. This article will show that, on the contrary, a small group of women played in Royal Australian Air Force (RAAF) bands during World War II. These women, members of the Women’s Auxiliary Australian Air Force (WAAAF), were invited to join their local RAAF bands when overseas deployments limited the availability of male musicians. This study uses archival research, contemporary media reports and interviews with WAAAF veterans to explore the lives and duties of this previously unacknowledged group of defence force musicians. Despite being paid less than their male counterparts, this small group of women proudly played and marched on equal terms with the men when their country needed them, only to be excluded for another forty years once peace reigned.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"22 - 39"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43117585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nature in Berg’s Wozzeck","authors":"Michael Ewans","doi":"10.1080/08145857.2021.2004488","DOIUrl":"https://doi.org/10.1080/08145857.2021.2004488","url":null,"abstract":"Abstract This article demonstrates the importance of Nature to both Georg Büchner, author of Woyzeck, and Alban Berg, who adapted the play into the text for his opera Wozzeck. The argument is that Nature in these works is not an indifferent, mechanical force—as it has previously been claimed to be—but an animate power, which interacts with and influences the actions of the protagonist. After outlining Büchner's view of Nature, which underlies the opera, the article analyses the three scenes in which Berg’s Wozzeck interacts with Nature: Act I scene 2, and Act III scenes 2 and 4. Finally, two productions of Wozzeck, both available on DVD, are considered for the effectiveness of their approaches to bringing out Wozzeck’s relationship with Nature.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"61 - 77"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41737246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}