#Tom Arduini

[ndigitalhealth]

GE Healthcare Secures FDA Approval for Alzheimer’s Imaging Software

GE HealthCare has been granted FDA’s 510(k) authorization for its Centiloid scale tool designed to help clinicians diagnose Alzheimer’s disease based on the density of amyloid plaque in a patient’s brain from PET scans.

Led by Philip Rackliffe , Kevin O'Neill, Peter J Arduini, Jan Makela, and Tom Westrick, the company focuses on providing innovative and transformational medical technology and services. It specializes in information technology, medical technology, medical diagnostics, drug discovery, patient monitoring and more.

Read more: https://nextdigitalhealth.com/healthcare/brain-diagnostics/ge-healthcare-secures-fda-approval-for-its-alzheimers-imaging-software/

HealthcareNews #healthcareinnovation #HealthcareTechnology #Ai #medicaldevice #nextdigitalhealth #vineetagrawal #Wi4

[purplewitch156]

Greyback laughed and even in this Life his teeth were unnaturally sharp. “Chunk those guns overboard. Nice and slow.”

Sharing an irritated look, Tom and Harry did.

“Very good,” Greyback praised. “Now you” — he jerked his jaw at Tom and then at a bundle of rope — “tie him up.”

“I’d be delighted.”

“Seriously?” said Harry exasperated. “You’d be delighted?”

Tom picked up the rope and shrugged. “Habits die hard.”

Memento Mori

(photo by Geoffrey Arduini)

[jesskbaldwin]

CCM Institute 2018

The CCM Institute at Shenandoah University has become my home away from home. Since my first summer there in 2009, I've fallen in love with the people and the work. I went there to study contemporary vocal pedagogy, but I started my path as an artist there, too. 

On the surface, it is simply a place to learn how to teach popular music singing styles (the vast majority of academic programs don't touch them). But in the process of teaching how the voice works in these styles, the vast world of music is also being valued and affirmed as something beautiful and important and diverse and accessible. The teachers who attend are surprised to find themselves opening to the possibility that they've really wanted to sing this music all along, but weren't given the opportunity or the encouragement by their teachers. They open up. They try new sounds. They learn how to foster authenticity in singing and in artistic identity. They learn how to hold a safe space for developing artists, including themselves. By the end of the week, the connections are strong and plentiful. 

I was fortunate enough to be asked to join the faculty last summer. It's crazy to me that my name appears beside the vocal pedagogy giants on this team. They're so knowledgable AND so warm. After 10 years together, we're truly a family.  

Artistic Director Matt Edwards carries the bulk of the teaching for the week. Executive Director Kathryn Green works behind the scenes to make sure all of the logistics work. It's a gargantuan amount of work for both of them. I'm amazed by how they make it happen. 

The rest of the faculty teaches segments on their specialities (science, pedagogy, styles, improv, etc.) while also running breakout sessions and teaching private lessons. My responsibilities for the week included teaching breakout sessions on vocal function, giving private lessons, playing piano for all masterclasses and open mic nights, co-teaching a class on rock/pop styles, and co-teaching a session on commercial gigs, songwriting, and running a private studio. When we're not learning together, we're all hanging out, catching up, and getting to know each other, usually out by the pool at the hotel. It's a crazy, non-stop 9 days, but it's a blast from beginning to end. The collective energy keeps us going.

The Institute made a shift a few years ago to being a place where many contemporary singing approaches are recognized and discussed. Artistic Director Matt Edwards is passionate about the field being one where we learn from each other for the sake of the craft. The Institute began giving the Lifetime Achievement Award last year to people who've made major contributions to the contemporary vocal pedagogy field. 

This year, we honored the amazing Mary Saunders-Barton with that award. Mary teaches at Penn State, and started Bel Canto Can Belto, which was one of the first vocal cross training programs in the world. She also recently published a great book on vocal cross training with Plural Publishing. She was SO lovely in every way. Great teacher and wonderful person. Learned so much from her.

We also had Dr. Ysaye Barnwell of Sweet Honey in the Rock as our guest speaker on roots music. In addition to her great lecture, she led us in singing in African and African-American styles. 

For the first time, we had group singing as a part of each open mic night. It gives the participants a chance to just sing for fun. We're not always great about that in academia...so it was a breath of fresh air to do this with peers and colleagues. Thanks to colleague and dear friend Julie Dean for making that happen this year. Here's one of our group sings:

I was over the moon to meet vocal jazz composing/arranging/everything giant Greg Jasperse, who was a participant this year. The WV All-State Chamber Choir did one of his pieces a few years ago under the direction of Mike Engelhardt. The Institute got to experience Greg's amazing piano playing at the open mic nights and jazz masterclass, and he sang and played a beautiful reharm of Skylark at one of the open mic nights.

I also got to meet participant Carla Stickler, who plays Elphaba in Wicked on Broadway. Elphaba is always used as an example of extreme high belting in our videos, but this year we got to hear Elphaba in person, off-mic when Carla agreed to sing for us. It was eye-opening (ear-opening?) for everyone to hear what the voice is doing with and without amplification in "Defying Gravity."

And it's always a blast to serve as pianist for Sheri Sanders' master class. LOVE that woman. Her work in diversity and healing through the medium of musical theatre is astonishing.

It's tough to put into words all that makes that week great, but I hope that gives you a glimpse. The Institute is really special to me, so I wanted to make sure I shared it with you guys. :) Hope you're all having a great summer! 

[thesunlounge]

Reviews 201: Il Guardiano del Faro

Several weeks ago I covered Choice Works 1982 - 1985, Time Capsule’s loving, informative, and visually gorgeous Yuji Toriyama retrospective. But Yuji wasn’t the first balearic hero of years past to get this special treatment, as Time Capsule had a few months prior released a deluxe reissue of Il Guardiano del Faro’s Oasis. This cinematic epic was crafted by Federico Monti Arduini and a few friends in 1978 from his seaside paradise of Porto Santo Stefano, and sees Poly and Mini-moogs, string synths, e-pianos, drum machines, echo boxes, and tape recorders uniting for a radiant waltz through mirage-shrouded desert dreamworlds. There are ambient disco burners, swooning Italian film orchestrations, proto-new age and post-classical expanses, exotic jazz fusion adventures, and moody Morricone/Alessandroni-style spaghetti western guitar meditations, all working together to achieve Federico’s goal of helping the listener understand that “inside, they are vulnerable and emotional but stubbornly alive.” Of course, the liner notes are detailed and captivating, tracing Federico’s development from a child piano prodigy through to his early flirtations with and subsequent abandonment of classical music and onto his later professional triumphs and successes as a solo artist. And his transformative meeting with Robert Moog is given special focus, with the essay contextualizing Federico’s pioneering use of Moog synthesizers in Italy and explaining how they allowed him to abandon restrictive and traditional forms of musical expression in favor of wide-eyed experimentation and intuitive solo exploration. 

Il Guardiano del Faro - Oasis (Time Capsule, 2018) “Sinfonia al sole che nasce” is an enchanting lullaby for the birth of the sun, with golden drops of Rhodes piano moving through vibrato waves alongside crystal healing tones. We then transition into aching solo synth-strings…angelic and gleaming, hymn-like and heavenly…until a sunrise piano arp enters and weaves feathery strands of light while futuristic harpsichords skip on sunbeams. All the while, contrabasses and cellos join in as the song works itself into gentle climax of aquatic new age bubbles and pastoral strings that float the soul. Tulio De Piscopo joins Federico for “Miss Springtime (…Mia),” which begins in a humid noir groove. Smoke shrouded Rhodes pianos hover above electro and acoustic cymbals that splash through twilight atmospheres and Tulio subverts his characteristic funk power with a sunset drum stroll along an idyllic stream. Smooth fusion basslines walk up and down the scale and swooning theremin-sounding synths trail the piano melodies, bringing vibes of (The) Ventures in Space as well as Haruomi Hosono’s “Tropical Trilogy” as we find ourselves in a surfy sci-fi waltz on an exo-planetary moon beach. There’s a passage of mediterranean mesmerism where seaside reed melodies evoke romantic gondola rides and classic Italian cinema…the swooning balearica presaging the work of Bonnie & Klein by decades. Elsewhere, tom fills and overlapping string dreamscapes break down into funk jam-outs that feature fragile pianos tearing it up alongside fried fusion leads that approximate interstellar saxophones…everything scatting on galactic currents as waves of synthesized solar light purify the mind.

Tulio appears again for “Non una corda al cuore,” which recalls the melodic sunbirth themes from the opening track on wavering Moog fluids that dance and harmonize in the air. Skittering electro-cymbals move beneath vaporous string orchestrations and paradise bass walks until Tulio crashes in with a pounding and regal beat…the soft echoes and reverbs in the mix giving his massive fills a three-dimension quality. Ethereal brass sections play solar spells overhead as the multi-tracked melodies begin ascending ever higher through realms of rainbow luminescence and Federico continues overloading the mix with aching layers of Moog and lustrous piano squiggles while sometimes allowing searing solos to break free from the euphoric haze, their jaw-dropping leads of slow motion majesty wrapping around the towering beats in a way that looks ahead to the earth-shaking power of early 2000s post-rock. Waves of harmonic wonder and sun-soaked melody unite to carry the spirit to impossible heights…the heavenly power bringing tears and stealing breath from the lungs. And Federico is not content to just blow you away with white light power, rather, he insists on completely obliterating the mind and body, leaving nothing behind but pure alchemical essence, which then floats freely upon the plodding drum smashes as everything else is wrapped around by starshine symphonies and hyperreal colorclouds.

“Lady Moon” is one of my favorite discoveries of recent memory…a gorgeous and heart-breaking meditation for the dust-caked western guitar of Johnny Farina. Federico joins in with subdued e-piano mysticisms and ghost organs swell in the background while cold winds blow over expansive desert vistas. A blood red sun descends below the horizon as immersive washes of synthesized light ascend, at times recalling Pink Floyd’s “Welcome to the Machine,” only as if transmuted to faraway lands where cacti reign and lizard and snakes crawl across sun-baked expanses of cracked sand. Johnny’s moody guitar continues holding down a ghost town shuffle while also being nearly overwhelmed by sweltering waves of arid synthesis and overhead, buzzards circle as they await the demise of some tormented soul wandering in desolation. A glowing web of synthesized string beauty initiates “La ragazza che amava il mare e il vento” while soft psychedelic slides and etheric light trails diffuse through swirling phaser clouds. It’s a blissed out ambient utopia of cosmic drama and sea-worn beauty…the title roughly translating to “the girl who loved the wind and sea”…and as the song progresses into a new age fantasia, you can almost feel her deep longing for the salty gales and crashing waves of an ocean of dreams.

Tulio appears one last time in “Disco Divina,” his stoned and spaced out disco groove supported by deep bubbling basslines while hypnotizing washes of cymbal swelling radiance overtake the mix. Outer-dimensional harpsichords bang away and dance through the night with sprightly space leads, while wailing vocal synths evoke a sort of angel opera. Massive tom smashes fly through the air as synths pan and move like intelligent liquids and all the while, the string orchestrations grow increasingly massive and eventually consume the mix with Arabic incantations. As it all comes together, we find ourselves in a faraway mystical land…some sort of camelback adventure on an alien planet where vibed out e-piano fusion solos glide on soul sweeping strings that emanate from the rocks of a mysterious desert palace. We then head further into an Arabic fever dream with “Oasis.” Swinging electro-drums and mystical string melodies waft over wobbling tuba synths that dance through exotic patterns. Splashing toms work around hissing cymbal cascades while the pianos and synths lock together for dueling snake charmer leads…everything eventually giving way to insectoid noises swarming around synth leads that fry the brain. During a jaw-dropping climax, paradise strings grow to epic levels of cosmic wonder…their dreamy exotica and immersive psychedelia evoking Omar Khorshid, only swapping his surf guitars for majestic synthesized symphonies. It’s the sonic equivalent of a sandstorm building in a blood red sky, its gusting winds washing over extra-terrestrial temples while alien druids cast spells against the violent torrents of nature.

“Immenso mare, immenso amore” provides a welcome come down from the ecstatic adventurism of “Oasis” as it allows us to float gently on a swinging Roland TR-77 shuffle. Tropical hand drums and hissing cymbals glide on aquamarine currents while humid tropical nightscapes are evoked by the gorgeous string synth weavings. Sometimes heatwave blasts of wavering magic flow over the body while at other times aching violins and violas sway together in the moonlight alongside golden piano chords that seem to swim through pools of polychromatic light. The vibrant euphoria continues building as brain-piercing feedback synths solo alongside the sad songs of an interstellar seabird flying alone through a world of dreams. And the melodies are so suffused with warmth and blinding spiritual light as everything moves together for a paradisiacal slow dance upon sea-foam clouds, climaxing with an absolutely maddening synth solo that contrasts the pastoral ambiance and gliding beauty beneath it with atonal liquid fire and mind melting runs up and down the scale, all wild skronking clusters of electronic chaos and fusion explosiveness raining down upon a heart-melting submarine drift.

In “Zenith,” Federico’s amorphous string movements float upon skittering electro-drum propulsion. Imagine fast motion beat hypnotics comprised of tribal toms, wood blocks, and static metal blasts that all fly together on comet tails, resulting in the kind of tripped out machine drum magic associated with 70s krautrock or lofi 90s space rock. Everything in the mix is smothered in echoes and hazy reverb and those scorching harpsichords appear once more to solo over it all…moving through thick puddles of phaser liquids that cling to the futurist tones as they climb towards the heavens. There are haunted space whistles that flow like strands of interstellar gas…as if Alessandro Alessandroni was blasted through a galactic vortex and then allowed to let loose his cinematic western melodies from deep within a dense cloud of pink and blue. And through it all, primordial string orchestrations evoke Kubrick’s “The Dawn of Man” while being intercut with mysterious detective film atmospherics. The “Finale” of Oasis  sees a return to the melodies and dream spells of opener “Sinfonia al sole che nasce,” this time with nacreous strands of Rhodes piano floating alone while creating gaseous bass bubbles and meditative vibration waves that shimmer and swirl…giving life and movement to Federico’s daydream melodies for an ethereal coda.

(images from my personal copy)

[vickihinze]

Wedding Reflections by Julie Arduini

Wedding Reflections by Julie Arduini

Well, our last big event of the summer is behind us. Our son Brian married Brianna over the weekend. As I watched him on the platform, smiling as they were announced Mr. and Mrs., greeting everyone, I thought about the many nights I cried myself to sleep not understanding my infertility. I learned I had PCOS when I had met Tom and was pretty sure he was the one. Kids really weren’t on my radar…

[tmnotizie]

MACERATA – Domani, sabato 27 gennaio, alle ore 17.30, nella sala dell’ex Cinema Sferisterio, secondo incontro de I giorni della Merla, piccola rassegna invernale di Macerata Racconta, protagonista Roberto Arduini, giornalista, grande esperto di letteratura fantastica e presidente dell’Associazione Italiana Studi Tolkeniani.   L’incontro, dal titolo Una sedia per regnare: Winter is coming, il Trono di spade e altre saghe, è dedicato alla serie televisiva più popolare di tutti i tempi, Games of Thrones, tratta dalla fortunata saga di George Martin, Le cronache del ghiaccio e del fuoco. Arduini, condurrà il pubblico in una affabulazione che ha come filo conduttore una sedia per regnare, simbolo del potere in un gioco di forze, e l’inverno come sfida, minaccia ed attesa. L’accompagnamento musicale vede due giovanissimi talenti come Michela Tancredi all’arpa e Simone Dalla Ceca al canto. Conducono Loredana Lipperini e Lucia Trancredi. (ap)

Roberto Arduini, giornalista de “L’Unità”, presidente dell’Associazione Italiana Studi Tolkieniani, è membro del Comitato Scientifico della collana Tolkien e Dintorni della casa editrice Marietti 1820. È co-autore e co-curatore di: Il Kalevala. Poema nazionale finnico, nella traduzione di Paolo Emilio Pavolini (Il Cerchio, 2007), La trasmissione del pensiero e la numerazione degli Elfi (Marietti, 2008), La Falce spezzata. Morte e immortalità in J.R.R. Tolkien(Marietti, 2009), La biblioteca di Bilbo. Percorsi di lettura tolkieniani nei libri per ragazzi (Effatà, 2011), Tolkien e la Filosofia (Marietti, 2011) e C’era una volta… Lo Hobbit (Marietti, 2012).

È traduttore della postfazione di Tom Shippey ne Il ritorno di Beorhtnoth figlio di Beorhthelm di J.R.R. Tolkien, curata da Wu Ming 4 (Bompiani, 2010). Tra gli ultimi saggi pubblicati, quelli degli Atti del Convegno J.R.R. Tolkien: Viaggio ed Eroismo ne Il Signore degli Anelli, svoltosi il 17 novembre 2014 a Palermo e edito recentemente dalla rivista scientifica Classico Contemporaneo, e quello contenuto negli atti del convegno All’Ombra del Signore Degli Anelli, le opere minori di J.R.R. Tolkien, svoltosi a Trento il 13 e 14 maggio 2015 e organizzato dalla Facoltà di Lettere e Filosofia dell’Università degli Studi di Trento.

Altri suoi contributi sono stati pubblicati dalle case editrici Aracne, Cuec, Senza Patria e Routledge University Press e alcuni suoi articoli sono apparsi nelle riviste Endóre e Terra di Mezzo. Due dei libri da lui curati sono stati tradotti in inglese da Walking Tree Publishers. Tiene abitualmente conferenze in Italia e all’estero, soprattutto in Gran Bretagna e Stati Uniti.

foto tratta dal sito I giorni della merla

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