Olivopontocerebellar Atrophy Essay -- Biology Biological Essays

Olivopontocerebellar Atrophy Olivopontocerebellar atrophy (OPCA) was first described in 1900 by Dejerine and Thomas. OPCA is a group of dominant inheritance and sporadic neurological disorders characterized by a chronic, progressive, cerebellar ataxia that begins in middle age. The cerebellum and its connections are the primary sites of the disease in chronic progressive disorders that often occur in familial or hereditary patterns. Postmortem studies indicate an atrophy of the cerebellum, pons, and inferior olives. This neuropathological neuronal cell loss permits classification of OPCA as a non-Alzheimer’s neurodegenerative illness. Gross postmortem inspection of the brains of patients with OPCA shows marked shrinkage of the ventral half of the pons, and disappearance of the olivary eminence on the ventral surface of the medulla. These brains also exhibit an atrophy of the cerebellum with degeneration of the middle cerebellar peduncles, and to a lesser extent, of the inferior peduncles. Thus, the cerebellum suffers mainly through atrophy of its afferent fibers. The neocerebellum and the olive undergo the primary degeneration. The purkinje cells of the cerebellar cortex are affected secondarily. Histological examination shows severe degeneration of Purkinje cells, reduction in the number of cells in the molecular and granular layers of the cerebellar cortex, severe loss of the number of cells in the pontine nuclei and olives, and demyelination of the middle cerebellar peduncle. The cerebellar nuclei are well preserved. The tegmentum of the pons, the corticospinal tracts, and the restiform body are also usually unaffected. In clinical cases involving extrapyramidal symptoms, degenerative changes in the striatum, espec... ...s Elevated in Brain of Patients with Dominantly Inherited Olivopontocerebellar Atrophy. Neuroscience Letters (submitted publication). Kish, Stephen J. et al : Brain Amino Acid Abnormalities in Dominantly Inherited Olivopontocerebellar Atrophy. Revised manuscript in preparation for resubmission to J. Neurochemistry. Kish, Stephen J. et. al. Cognitive Deficits in Olivopontocerebellar Atrophy: Implications for the Cholinergic Hypothesis of Alzheimer’s Dementia. Annals of Neurology: 24 (2), 200-206, 1988. Rowland, Lewis P. (ed.): Merritt's Textbook of Neurology, eighth edition. Lea and Febiger. Philadelphia, 1959, pp. 630--631. Snell, Richard S: Clinical Neuroanatomy for Medical Students. Little, Brown, and Company, Boston, 1957, pp. 220--222. Walton, Sir John. Brain's Diseases of the Nervous System. Oxford University Press. New York, 1955, pp. 365. Olivopontocerebellar Atrophy Essay -- Biology Biological Essays Olivopontocerebellar Atrophy Olivopontocerebellar atrophy (OPCA) was first described in 1900 by Dejerine and Thomas. OPCA is a group of dominant inheritance and sporadic neurological disorders characterized by a chronic, progressive, cerebellar ataxia that begins in middle age. The cerebellum and its connections are the primary sites of the disease in chronic progressive disorders that often occur in familial or hereditary patterns. Postmortem studies indicate an atrophy of the cerebellum, pons, and inferior olives. This neuropathological neuronal cell loss permits classification of OPCA as a non-Alzheimer’s neurodegenerative illness. Gross postmortem inspection of the brains of patients with OPCA shows marked shrinkage of the ventral half of the pons, and disappearance of the olivary eminence on the ventral surface of the medulla. These brains also exhibit an atrophy of the cerebellum with degeneration of the middle cerebellar peduncles, and to a lesser extent, of the inferior peduncles. Thus, the cerebellum suffers mainly through atrophy of its afferent fibers. The neocerebellum and the olive undergo the primary degeneration. The purkinje cells of the cerebellar cortex are affected secondarily. Histological examination shows severe degeneration of Purkinje cells, reduction in the number of cells in the molecular and granular layers of the cerebellar cortex, severe loss of the number of cells in the pontine nuclei and olives, and demyelination of the middle cerebellar peduncle. The cerebellar nuclei are well preserved. The tegmentum of the pons, the corticospinal tracts, and the restiform body are also usually unaffected. In clinical cases involving extrapyramidal symptoms, degenerative changes in the striatum, espec... ...s Elevated in Brain of Patients with Dominantly Inherited Olivopontocerebellar Atrophy. Neuroscience Letters (submitted publication). Kish, Stephen J. et al : Brain Amino Acid Abnormalities in Dominantly Inherited Olivopontocerebellar Atrophy. Revised manuscript in preparation for resubmission to J. Neurochemistry. Kish, Stephen J. et. al. Cognitive Deficits in Olivopontocerebellar Atrophy: Implications for the Cholinergic Hypothesis of Alzheimer’s Dementia. Annals of Neurology: 24 (2), 200-206, 1988. Rowland, Lewis P. (ed.): Merritt's Textbook of Neurology, eighth edition. Lea and Febiger. Philadelphia, 1959, pp. 630--631. Snell, Richard S: Clinical Neuroanatomy for Medical Students. Little, Brown, and Company, Boston, 1957, pp. 220--222. Walton, Sir John. Brain's Diseases of the Nervous System. Oxford University Press. New York, 1955, pp. 365.

Mus 100 Study Guide

MUS 100 FINAL STUDY GUIDE CHAPTER 17: – Fortepiano: early piano, named for its range of dynamic levels; it was smaller and less sonorous than the modern instrument. – Classical style: restrained, objective style of art. Classical refers to Western music characteristic of the period from 1750-1825. Composers: – Mozart: Invested much of his music with a degree of emotion expression unusual for his time. Never allowed emotion to dominate his art. – Haydn: Wrote pleasant, good-natured music throughout his long life. Wrote masses, oratorios, and other religious compositions for church and for concert performance. Beethoven: Wrote masses, oratorios, and other religious compositions for church and for concert performance. CHAPTER 18: – Form: organization and design of a composition, or of one movement within a composition. – Symphony: multimovement orchestral form. – Sonata-Allegro: â€Å"first movement form†. The 3 sections: expositio n, development, and recapitulation-form a binary design. – Exposition: first section of a fugue or of a sonata-allegro. – Development: 2nd section of the sonata-allegro; it moves through many keys. – Recapitulation: 3rd section of the sonata-allegro.Reviews the material of the exposition, presenting it in a new light. – Coda: Meaning, â€Å"tail†; a closing section. – Minuet and Trio: ABA. Often the 3rd movement of a symphony, sonata, or string quartet. Consists of two minuets, the second (trio) lighter and more lyrical than the first. – Cadenza: extended passage for solo instrument; typical feature of a solo concerto. – Rondo: ABACA. Form in which various episodes alternate with the opening material. The tempo is usually fast, and the mood merry. – String Quartet: chamber ensemble consisting of two violins, a viola, and a cello. Sonata (classical period): a multimovement composition for one or two solo instruments. CHAP TER 19: – Overture: introductory orchestral piece. – Comic Opera (ope’ra comique, singspiel, opera buffa): Operas light in mood, modest in performing requirements, written in the vernacular language of the intended audience. – Requiem: mass for the dead. – Ensemble Finale: final scene of a musical show in which several soloists simultaneously express, in different words and music, their individual points of view. CHAPTER 20: – Motive: short melodic phrase that may be effectively developed. Art song: concert setting of a poem, usually by a well-known poet, to music. – Lieder: German art songs. – Song cycle: sets of songs by one composer, often using texts all by the same poet. Composers: – Schubert: earliest master of romantic art son. Composed 143 songs at 18. â€Å"Godfather† of the romantic period genre. CHAPTER 21-22: – Cyclic form: multimovement form unified by recurrence of the same or similar melodic material in two or more movements. – Absolute music: instrumental music having no tended association with a story, poem, idea or scene; non-program music. Concert overture: one movement orchestral composition, often inspired by literature and dramatic in expression, yet generally subject to analysis according to classical principles of form. – Program symphony: symphony (composition for orchestra in several movements) related to a story, idea, or scene, in which each movement usually has a descriptive title. – Idee fixe: single melody used in several movements of a long work to represent a recurring idea. – Thematic transformation: variation of thematic or melodic material for programmatic purposes.Sometimes called metamorphosis. – Dies irae: Gregorian chant for the dead. – Symphonic poem (tone poem): programmatic composition for orchestra in one movement, which may have a traditional form (such as sonata/rondo) or an original irregular form . Composers: – Brahms: misplaced classicist. Poured the warmest Romantic emotional content into his classical forms. He based his music on models from the past. – Berlioz: his works were based on unrequited love. Used the idee fixe, which was a melodic reference to his beloved. CHAPTER 23: Character piece: relatively short piano piece in a characteristic style or mood. – Nocturnes: Piece expressing the â€Å"character† of night. – Prelude: short independent or introductory piece for keyboard. – Etude: a virtuosic instrumental study or â€Å"exercise† intended for concert performance. – Rubato: romantic technique of â€Å"robbing† from the tempo at some points and â€Å"paying back† at others. Composers: – Chopin: only great composer who wrote almost exclusively for piano. Most pieces are miniatures. Virtuoso pianist, most famous for lyrical and melancholic melodies.CHAPTER 25: -Post-romanticism: general ter m for several romantic styles that succeeded the dominance of German Romanticism and preceded the return of classicism to the arts. – Atonality: avoidance of a tonic note and of tonal relationships in music. – Impressionism: style of painting and music that avoids explicit statement, instead emphasizing suggestion and atmosphere. – Primitivism: style inspired by primitive works of art and by the relaxed life of unsophisticated cultures. – Pizzicato: technique of plucking string instruments.Composers: – Mahler: post-romantics. Wrestled with conflicting romantic and classical ideals. – Strauss: leader of post-romantic composers. Strictly classical style but developed romantic techniques. – Debussy: first musician labeled an impressionist. Developed unusual harmonies and exotic timbres. – Schoenberg: inventor of the 12-tone method (serialism) > Using the 12 pitches equally. > 12 tone row: playing the 12 pitches in whatever order; no repeated tones until the row has been fully played. > Wrote in a free atonal style gt; Drifted away from traditional harmony and experimented other styles – Stravinsky: went through an early ballet period before the war. He went through a neo-classical period. > Primitivism: movement in the second decade of the 20th century. Reveals romanticism characteristics. Characterized by strong savage rhythms, dissonant combinations of sound and narrow melodies. > â€Å"Rite of Spring†: controversial piece, ballet, and scandal piece CHAPTER 27: – Experimentalism: exploration of previously unknown aspects of musical sound. Polytonality: two or more keys at the same time. – Tone cluster: chord built on seconds. – Prepared piano: piano whose timbre and pitches have been altered by the application of foreign materials on or between the strings. – Twelve-tone technique: arrangement of the twelve chromatic pitches into a tow that provides the melodic and harmonic basis for a music composition. Row: series of tones on which a serial composition is based. Composers: – Schoenberg: inventor of the 12-tone method (serialism) – Weberm: developed his own styles: lean, clean, delicate, and strong. Ives: invented polytonality (incorporating of two different keys). – Cowell: invented the plucking of a piano sound. – Cage: 1912-1992 not trained as a musician. Brought up in Los Angeles. Became a composer. > Alatoric: predetermined sounds and just guessed when it should be played. > Conceptual art: piece called 4 minutes a 33 seconds – just the sounds in CHAPTER 28: – Neoclassicism: 12th century version of classicism in music. – Neoromanticism: 12th century version of a romantic approach to music. –Minimalism: style of music based on many repetitions of simple melodic lines that gradually change and slowly evolve patterns and rhythmic patterns. Composers: – Copland: American nationa list composer > â€Å"Dean of American Music† – Gershwin: Best known of all American opera, filled with the characteristic sounds of jazz, including syncopated rhythms, expressive vocal catches and slides. – Prokofiev: focused on neoclassical music. – Barber: focused on neoromanticism. > Adagio for string orchestra (tonal piece) – Reich: focused on minimalism. – Glass: focused on minimalism.

U.S. Constitution Article I, Section 9 What It Means

Article 1, Section 9 of the U.S. Constitution places limits on the powers of Congress, the Legislative Branch. These restrictions include those on limiting the slave trade, suspending civil and legal protections of citizens, apportionment of direct taxes, and granting titles of nobility. It also prevents government employees and officials from accepting foreign gifts and titles, known as emoluments. Article I - The Legislative Branch - Section 9 Clause 1, Importation of Slaves Clause 1: The Migration or Importation of such Persons as any of the States now existing shall think proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and eight, but a Tax or duty may be imposed on such Importation, not exceeding ten dollars for each Person. Explanation: This clause relates to the slave trade. It prevented Congress from restricting the importation of slaves before 1808. It did allow Congress to levy a duty of up to 10 dollars for each slave. In 1807, the international slave trade was blocked and no more slaves were allowed to be imported legally into the United States. Slavery was still legal, however, within the United States until the end of the Civil War and the passage of the 13th Amendment in 1865. Clause 2, Habeas Corpus Clause 2: The Privilege of the Writ of Habeas Corpus shall not be suspended, unless when in Cases of Rebellion or Invasion the public Safety may require it. Explanation:  Habeas corpus is the right to be held in jail only if there are specific, legitimate charges filed against you in court. A person cant be detained indefinitely without legal process. This was suspended during the Civil War and for detainees in the War on Terror held at Guantanamo Bay. Clause 3, Bills of Attainder and Ex Post Facto Laws Clause 3: No Bill of Attainder or ex post facto Law shall be passed. Explanation: A bill of attainder is a way that a legislature acts as a judge and jury, declaring that a person or group of people are guilty of a crime and stating the punishment. An ex post facto law criminalizes acts retroactively, allowing people to be prosecuted for acts that werent illegal at the time they did them. Clause 4-7, Taxes and Congressional Spending Clause 4: No Capitation, or other direct, Tax shall be laid, unless in Proportion to the Census or Enumeration herein before directed to be taken. Clause 5: No Tax or Duty shall be laid on Articles exported from any State. Clause 6: No Preference shall be given by any Regulation of Commerce or Revenue to the Ports of one State over those of another: nor shall Vessels bound to, or from, one State, be obliged to enter, clear, or pay Duties in another. Clause 7: No Money shall be drawn from the Treasury, but in Consequence of Appropriations made by Law; and a regular Statement and Account of the Receipts and Expenditures of all public Money shall be published from time to time. Explanation:  These clauses set limits on how taxes can be levied. Originally, an income tax would not have been allowed, but this was authorized by the 16th Amendment in 1913. These clauses prevent taxes from being levied on trade between states. Congress must pass tax legislation to spend the public money and they must show how they have spent the money. Clause 8, Titles of Nobility and Emoluments Clause 8: No Title of Nobility shall be granted by the United States: And no Person holding any Office of Profit or Trust under them, shall, without the Consent of the Congress, accept of any present, Emolument, Office, or Title, of any kind whatever, from any King, Prince, or foreign State. Explanation:  Congress cant make you a Duke, Earl, or even a Marquis. If you are a civil servant or elected official, you cant accept anything from a foreign government or official, including an honorary title or an office. This clause prevents any government official from receiving foreign gifts without the permission of Congress. What are Emoluments? Clause 8, the so-called â€Å"Emoluments Clause,† specifies that no elected or appointed U.S. government official—including the president of the United States—may accept payments from foreign governments during their terms in office. The Merriam-Webster Dictionary defines emoluments as â€Å"returns arising from office or employment usually in the form of compensation or perquisites.† Constitutional scholars suggest the Emoluments Clause was added to prevent American ambassadors of the 1700s, living abroad from being influenced or corrupted by gifts from wealthy European powers. Past examples of violations of the Emoluments Clause by some of America’s Founding Fathers include Benjamin Franklin’s acceptance of diamond-covered snuffbox from the King of France and John Jay’s acceptance of a purebred stallion from the King of Spain.