Corrigendum to: Unfinished symphony: updating the systematics of Aeolidiidae (Nudibranchia, Gastropoda), with special focus on Aeolidiella Bergh, 1867.

A new generation of observatories, now being completed worldwide, will give astronomers not just a new window on the cosmos but a whole new sense with which to explore and experience the heavens above us. Instead of collecting light waves or radio waves, these novel instruments will allow astronomers to at last place their hands upon the fabric of space-time and feel the very rhythms of the universe. These vibrations in space-time-or gravity waves-are the last prediction of Einstein's general theory of relativity yet to be observed directly. They are his unfinished symphony, waiting nearly a century to be heard. When they finally reveal themselves to astronomers, we will for the first time be able to hear the cymbal crashes from exploding stars, tune in to the periodic drumbeats from swiftly rotating pulsars, listen to the extended chirps from the merger of two black holes, and eavesdrop on the remnant echoes from the mighty jolt of the Big Bang itself. When Einstein introduced general relativity in 1915, it was hailed as a momentous conceptual achievement. Einstein attained celebrity status. But, once scientists verified what they could of the theory, given the scant experiments available at the time, general relativity became "largely a theoretical curiosity," writes Marcia Bartusiak. Now, after decades of technological advancement, general relativity is being tested with unprecedented accuracy. It even affects our everyday lives. Satellites used by both travelers and soldiers to peg their positions require constant corrections of Einsteinian precision. Meanwhile, the first gravity-wave "telescopes"-including the LIGO facility-are about to come alive. In Einstein's Unfinished Symphony, Bartusiak captures the excitement as two gravity-wave observatories in Louisiana and Washington State, as well as others in Italy, Germany, and Japan, approach operation and physicists gear up to begin their work to register the long-predicted quakes in space-time. With each chapter, Bartusiak continues her musical metaphor in tracing the story of general relativity, from the time "Maestro" Einstein enters physics, through the "Starlight Waltz" of neutron stars twisting space-time around themselves, to the "Dissonant Chords" of controversy as physicists fight to get their radically new observatories approved, through the "Finale" as a worldwide endeavor in gravity-wave astronomy is launched.

The article examines one of Piotr Tchaikovsky’s last compositions – the Concerto for Piano and Orchestra No. 3, its creation, comprehension and performance. The genre-related and, as a result, the cyclic issues of this compositions not possessing univocal interpretation in contemporary scholarly literature come out to the foreground. Having been relegated to the periphery of performance practice, the Third Piano Concerto has acquired the reputation of an “unsuccessful composition” and has disappeared from the repertoire of pianists for a lengthy period of time. However, the interest in its “symphonic prototype” – the unfinished symphony in E-flat major – as well as its edition by Semyon Bogatyryov and its performance have once again aroused interest in the concerto. The issue of cyclicity of this composition has substantially become sharpened: some performers incline towards the one-movement version, while others prefer the three-movement version. In this context the necessity arose of carrying out the analysis of the authorial genre-related terminology and the attention towards epistolary material (letters of Piotr and Modest Tchaikovsky, Alexander Siloti, Sergei Taneyev, Mitrofan Belyayev), which had direct connection to the fate of the Third Piano Concerto. The outcome of the work was the conclusion about the validity of the existence of the three-movement version as the Third Piano Concerto, while the genre status of the one-movement must be reexamined. Keywords: Tchaikovsky’s Third Piano Concerto, Andante and Finale, Konzertstuck, unfinished symphony, Louis Diemer, late romantic art.

The objective of the paper is to define long-term trends and factors in the development of the world energy industry and their refraction to Ukrainian realities. The article consists of an introduction, three sections, namely: the main trends in the development of the global fuel and energy complex, analysis of the current state, long-term trends and factors in the development of the national fuel and energy complex of Ukraine. Conclusions end the paper. As for the world energy sector it is shown that its modern changes – Grand Transit – are due to the ideology of sustainable development and have the character of an extraordinary change in the technocenosis, the transition from the use of fossil fuels to energy from renewable sources, mainly – wind and photovoltaic nature. Along with the major tendencies of the Great Transition, there is also the trilemization and politicization of energy sector. Trilemization components are: Energy Security, Energy Equity and Environmental Sustainability. There are three scenarios for the development of the global energy – Unfinished Symphony, Modern Jazz and Hardrock, distinguished by the degree of greening and the availability of energy resources. Political motives are becoming more and more significant at all levels – from global to local. Major players are lobbying their interests, there is an activity of structures from the field of nuclear energy, powerful fuel companies, owners of gas transportation and gas distribution infrastructure. In Ukraine, transformation processes are taking place against the backdrop of low environmental acceptability and high depreciation of fuel and energy sector facilities and infrastructure, political and economic instability. The requirements of decarbonization create challenges to the very existence of coal energy, which is the main component of the energy generating fund of the country and the regions, where mines are located. Options for the development of hydrogen/ammonia energy in the form of vertically integrated energy-chemical systems with the nuclear power plants and reformed coal-fired thermal power plants are considered as promising; energy diversification of mining regions; the creation of virtual power plants based on hydrodynamic water heating installations.

Polarity in Schubert's Unfinished Symphony. Un article de la revue Canadian University Music Review / Revue de musique des universités canadiennes (Numéro 1, 1980, p. 1-159) diffusée par la plateforme Érudit.

In recent years the RVH Emergency Department (ED) had been under intense pressure and public scrutiny. This led to a demoralised workforce who had become disengaged with quality improvement (QI)....

A new generation of observatories, now being completed worldwide, will give astronomers not just a new window on the cosmos but a whole new sense with which to explore and experience the heavens above us. Instead of collecting light waves or radio waves, these novel instruments will allow astronomers to at last place their hands upon the fabric of space-time and feel the very rhythms of the universe. These vibrations in space-time-or gravity waves-are the last prediction of Einstein's general theory of relativity yet to be observed directly. They are his unfinished symphony, waiting nearly a century to be heard. When they finally reveal themselves to astronomers, we will for the first time be able to hear the cymbal crashes from exploding stars, tune in to the periodic drumbeats from swiftly rotating pulsars, listen to the extended chirps from the merger of two black holes, and eavesdrop on the remnant echoes from the mighty jolt of the Big Bang itself. When Einstein introduced general relativity in 1915, it was hailed as a momentous conceptual achievement. Einstein attained celebrity status. But, once scientists verified what they could of the theory, given the scant experiments available at the time, general relativity became largely a theoretical curiosity, writes Marcia Bartusiak. Now, after decades of technological advancement, general relativity is being tested with unprecedented accuracy. It even affects our everyday lives. Satellites used by both travelers and soldiers to peg their positions require constant corrections of Einsteinian precision. Meanwhile, the first gravity-wave telescopes-including the LIGO facility-are about to come alive. In Einstein's Unfinished Symphony, Bartusiak captures the excitement as two gravity-wave observatories in Louisiana and Washington State, as well as others in Italy, Germany, and Japan, approach operation and physicists gear up to begin their work to register the long-predicted quakes in space-time. With each chapter, Bartusiak continues her musical metaphor in tracing the story of general relativity, from the time Maestro Einstein enters physics, through the Starlight Waltz of neutron stars twisting space-time around themselves, to the Dissonant Chords of controversy as physicists fight to get their radically new observatories approved, through the Finale as a worldwide endeavor in gravity-wave astronomy is launched.

Reply to letters to the editor entitled "Bias, the unfinished symphony" and "Bias estimation for Sigma metric calculation: arithmetic mean versus quadratic mean".

For most of his career, the Emmy Award–winning composer and producer Lucas Cantor Santiago was a self-described luddite. Technology, he felt, was moving too fast, transforming the world and the arts with no regard for the cost in tradition, hard-won human wisdom, and tried-and-true methods of mastery. That changed, however, when Cantor Santiago was commissioned by Huawei, one of the largest technology companies on the planet, to collaborate with artificial intelligence and finish Franz Schubert’s Unfinished Symphony—a successful experiment that attracted attention throughout the world. Creating music in collaboration with a machine led him to question his long-standing assumptions about what music is, what technology does, and how the two have evolved together over the course of human history, from the first bone flute to today’s landscape of constant innovation and change. Drawing on Cantor Santiago’s extensive experience in the arts and tech worlds and his ongoing experiments with AI-powered musicmaking,Unfinishedis an engaging and refreshingly optimistic meditation on the role of technology in music and the arts. What is the current state of the art? How did we get here? Where do we go now? This book provides an informed perspective on what is lost but what we also gain when we bring our machines ever further into the creation of art in its many different forms.

The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud’s position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps’s thinking in the turn‐of‐the‐century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud ‘stopped’, as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the ‘unfinished symphony’ of the relationship between psychoanalysis and music.

Hamilton’s America: An Unfinished Symphony with a Stutter (Beat) Ariel Nereson (bio) Hamilton. The Public Theater, New York, April 12, 2015. How does a bastard, orphan, son of a whore and a Scotsman, dropped in the middle of a forgotten Spot in the Caribbean by providence, impoverished, in squalor, Grow up to be a hero and a scholar? Lin-Manuel Miranda is no stranger to success on Broadway—his musical In the Heights garnered him four 2008 Tony Awards and a Grammy Award.1 In 2016 Miranda almost tripled his success: the juggernaut musical Hamilton, for which he wrote the music and lyrics, and starred as Alexander Hamilton, won eleven 2016 Tony Awards, including Best Musical, Best Book, and Best Score.2 Inspired by the historian Ron Chernow’s 2005 biography Alexander Hamilton and beginning as “The Hamilton Mixtape” performed as a short rap by Miranda for President Barack Obama at the White House in 2009,3 Hamilton’s connection to contemporary American politics via its unique perspective on the nation’s founding has garnered the production endless accolades from various popular media outlets and a steady stream of celebrity attendees from Beyoncé and Jay-Z to the Obamas and a slew of Treasury secretaries, including the current secretary, Jacob J. Lew.4 While this review is of the Public Theater production (direction by Thomas Kail, choreography by Andy Blankenbuehler, and music direction by Alex Lacamoire) that enjoyed a thrice-extended run from January 20 to May 3, 2015, much of my commentary remains relevant for its transfer to the Richard Rogers Theatre on Broadway in July 2015, where it continues a sold-out run and has reinvented the concept of the rush line as a performance venue in itself. Since January 2015, Miranda has been awarded a MacArthur “genius” grant, the 2016 Pulitzer Prize for Drama, the 2016 Edward M. Kennedy Prize for Drama [End Page 1045] Inspired by American History, the George Washington Book Prize, and the Original Broadway Cast Recording has won a Grammy and reached number one on the Billboard Rap chart.5 Hamilton’s primary interventions into the story of the founding fathers revolve around casting choices and the use of rap and hip-hop as the dominant musical genres. Both the nontraditional casting and music reinvent dominant modes of storytelling, advancing Miranda’s thesis of “history being up for grabs, and the teller being just as important as the subject.”6 While seemingly universally lauded by popular critics, a recent critical conversation among historians and cultural critics has emerged, positioning two lines of primary inquiry: Hamilton as art/entertainment, and Hamilton as history. Yet these lines continually intersect in the experience of the production, creating a web wherein they produce meaning interdependently, not as fragments, complicating the critical division. Hamilton tells the story of “10-dollar founding father without a father” Alexander Hamilton (Miranda), bookended by two encounters with Aaron Burr (Leslie Odom Jr.): the first meeting between the men in New York City in 1776, where Hamilton seeks Burr’s advice at climbing the political ladder, and the last, their infamous duel in 1804.7 Act 1 addresses the Revolutionary War, act 2 the aftermath of governing. The entire show is sung (rapped, etc.) through, making the cast recording a good option for a relatively complete version of the show if a live Broadway viewing is not in your future. The musical opens with several historical figures—Burr, Jefferson (Daveed Diggs), Madison (Okieriete Onaodowan), George Washington (Christopher Jackson), John Laurens (Anthony Ramos), Eliza Hamilton (Phillipa Soo)—ruminating on Hamilton’s unlikely survival and success, introducing both the central figure and the critical interplay between history and historiography that runs throughout the performance. Burr’s opening lines, which began this review, introduce a man who was raised by a single mother out of wedlock and, crucially for this production, came to the colonies as an immigrant believing in the promise “In New York you can / be a new man.”8 “Alexander Hamilton” paints Hamilton as saved from a life of poverty and insignificance largely by his skill with words: “put a pencil to his temple, connected it to / his brain.” Bolstered by the...

La musique dans les ecoles est en crise. D'abord destinee a une elite, l'enseignement de la musique s'ouvre au grand public. Rapidement, des manques sont pourtant observes : manque d'objectifs, de sens

Schubert’s Symphony No. 8 in B Minor, D. 759, often dubbed the “Unfinished Symphony,” is a topic of intrigue for musicians and scholars to this day, largely due to the fact that it is incomplete. Its popularity and acclaim come not from the music itself, but as a result of the posthumous association with its composer. Correspondences between key figures in the piece’s history such as Anselm Hüttenbrenner and Johann Herbeck, as well as critics’ reviews of the piece, underline value in the mystery and narrative of its incompleteness. Through the observations of various musicologists and critics including Martin Chusid, Maynard Solomon, and Herbert F. Peyser, this paper firstly explores the pre-existing material of the symphony—both its physical history and the musical content. Then, it examines how, despite being unfinished, value was placed upon this piece via the reaction and reception of the work, which had been influenced by Schubert’s already-established reputation. Such explorations demonstrate how the popularity and legacy of a composition can be elevated in hindsight to its creation. Furthermore, this investigation serves as a gateway to the discussion of the legacy of this symphony and other unfinished works considering human nature and retrospective effects of storytelling.

34 Historically Speaking January/February 2006 flux. Violence, to offer one example, he described as a "pulsation" (Pulsieren) rather than a constant.6 In any case, ifwar's common elements were constants, the zealots would be justified in canceling them out oftheir formulae for success, as indeed they try to do now. I suspect Gray would agree with this portrayal ofthe nature of war. My concern, however , is not with his interpretation, but how it might be received by those who lack his breadth and depth of knowledge. His argument can be taken as claiming that all one needs to know about the nature of the weather , for instance, is that it consists of a few common and inescapable elements, such as barometric pressure, heat index, dew point, wind velocity, and so on. This line of reasoning does not allow us to appreciate that there is indeed a qualitative difference between a rain shower and a hurricane—so much so in fact that we might do well to consider them two entirely different types of weather and prepare ourselves accordingly. We ought, therefore, to recognize not only the elements common to all forms ofweather, but also how those elements relate to each other, and how changes in one or more of them will affect how we should prepare ourselves before stepping outdoors. After all this, I think Gray and I are largely in agreement, except ofcourse on those niggling details. Antulio J. Echevarría II is the Director of Research andDirector ofNational Security Affairs at the Strategic Studies Institute, U. S . Army War College. He is the author o/After Clausewitz: German Military Thinkers before the Great War (University Press ofKansas, 2001), and is currently working on two books, one that examines Clausewitz 's On War as an "unfinished symphony " and one that compares amateur andprofessional military views offuture war in the West before 1914. 1 See, for example, the U.S. National Intelligence Council, Mapping the Global Future (National Intelligence Council, December 2004). 2 Antulio J. Echevarría II, "The Trouble with History in Military Education," Historically Speaking: The Bulletin ofthe Historical Society (September/October 2005): 11-15. 3 Vom Kriege, Book I, Ch. 2, 214.·* Vom Kriege, Book I, Ch. 1, 212-13. 5 Vom Kriege, Book VIII, Ch. 3B, 970-74. 6 Vom Kriege, Book I, Ch. 2, 210. Comment on Gray Andrew J. Bacevich I concur with Colin Gray. Indeed, I am almost tempted to say that I agree with every jot and tittle of his essay and to leave it at that. Almost, but not quite. Gray expects others to find his essay "shocking" and "unfashionable" and "controversial ." He should prepare to be disappointed . Serious students of war will judge his views to be commonsensical and even conventional . There is not a lot new here. Simplifying only slightly, Gray's argument reduces to a single sentence: "Clausewitz got it about right." Indeed, he did, especially in fixing the relationship of war to politics. The ugly truth is that as long as politics persists so too will large-scale, politically motivated violence. That the innocent, the naive, and the idealistic will bridle at that prospect is to be expected. As with those who rail against the market or deny the existence of Original Sin, theirs is an exercise in futility. To be sure, those opposing all war as a matter of principle serve a useful purpose: they make it harder for ambitious or bloodthirsty politicians to portray the conflict lurking over the horizon as high-minded, moral, and unavoidable. So two cheers for those who protest and demonstrate and proclaim "hell no, we won't go." Yet no amount of emoting for peace, however well intentioned, will succeed in making an end to war. Gray puzzles over the fact that some of those actually in the war business fall prey to their own peculiar version of romanticism. The counterparts to the pacifists denying the utility of war are the visionaries—soldiers as well as strategists—who entertain dreams of perfecting war, liberating it from Clausewitzian risk and uncertainty. Since the end ofthe Cold War, Americans have shown a particular susceptibility to such fantasies. Theorists have developed...

The history of the theory of reference values can be written as an unfinished symphony. The first movement, allegro con fuoco, played from 1960 to 1980: a mix of themes devoted to the study of biological variability (intra-, inter-individual, short- and long-term), preanalytical conditions, standardization of analytical methods, quality control, statistical tools for deriving reference limits, all of them complex variations developed on a central melody: the new concept of reference values that would replace the notion of normality whose definition was unclear. Additional contributions (multivariate reference values, use of reference limits from broad sets of patient data, drug interferences) conclude the movement on the variability of laboratory tests. The second movement, adagio, from 1980 to 2000, slowly develops and implements initial works. International and national recommendations were published by the IFCC-LM (International Federation of Clinical Chemistry and Laboratory Medicine) and scientific societies [French (SFBC), Spanish (SEQC), Scandinavian societies…]. Reference values are now topics of many textbooks and of several congresses, workshops, and round tables that are organized all over the world. Nowadays, reference values are part of current practice in all clinical laboratories, but not without difficulties, particularly for some laboratories to produce their own reference values and the unsuitability of the concept with respect to new technologies such as HPLC, GCMS, and PCR assays. Clinicians through consensus groups and practice guidelines have introduced their own tools, the decision limits, likelihood ratios and Reference Change Value (RCV), creating confusion among laboratorians and clinicians in substituting reference values and decision limits in laboratory reports. The rapid development of personalized medicine will eventually call for the use of individual reference values. The beginning of the second millennium is played allegro ma non-troppo from 2000 to 2012: the theory of reference values is back into fashion. The need to revise the concept is emerging. The manufacturers make a friendly pressure to facilitate the integration of Reference Intervals (RIs) in their technical documentation. Laboratorians are anxiously awaiting the solutions for what to do. The IFCC-LM creates Reference Intervals and Decision Limits Committee (C-RIDL) in 2005. Simultaneously, a joint working group IFCC-CLSI is created on the same topic. In 2008 the initial recommendations of IFCC-LM are revised and new guidelines are published by the Clinical and Laboratory Standards Institute (CLSI C28-A3). Fundamentals of the theory of reference values are not changed, but new avenues are explored: RIs transference, multicenter reference intervals, and a robust method for deriving RIs from small number of subjects. Concomitantly, other statistical methods are published such as bootstraps calculation and partitioning procedures. An alternative to recruiting healthy subjects proposes the use of biobanks conditional to the availability of controlled preanalytical conditions and of bioclinical data. The scope is also widening to include veterinary biology! During the early 2000s, several groups proposed the concept of 'Universal RIs' or 'Global RIs'. Still controversial, their applications await further investigations. The fourth movement, finale: beyond the methodological issues (statistical and analytical essentially), important questions remain unanswered. Do RIs intervene appropriately in medical decision-making? Are RIs really useful to the clinicians? Are evidence-based decision limits more appropriate? It should be appreciated that many laboratory tests represent a continuum that weakens the relevance of RIs. In addition, the boundaries between healthy and pathological states are shady areas influenced by many biological factors. In such a case the use of a single threshold is questionable. Wherever it will apply, individual reference values and reference change values have their place. A variation on an old theme! It is strange that in the period of personalized medicine (that is more stratified medicine), the concept of reference values which is based on stratification of homogeneous subgroups of healthy people could not be discussed and developed in conjunction with the stratification of sick patients. That is our message for the celebration of the 50th anniversary of Clinical Chemistry and Laboratory Medicine. Prospects are broad, enthusiasm is not lacking: much remains to be done, good luck for the new generations!

Education and organ donation: ‘the unfinished symphony’