We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
The First Large Absorption Survey in H i (FLASH) is a large-area radio survey for neutral hydrogen in and around galaxies in the intermediate redshift range $0.4\lt z\lt1.0$, using the 21-cm H i absorption line as a probe of cold neutral gas. The survey uses the ASKAP radio telescope and will cover 24,000 deg$^2$ of sky over the next five years. FLASH breaks new ground in two ways – it is the first large H i absorption survey to be carried out without any optical preselection of targets, and we use an automated Bayesian line-finding tool to search through large datasets and assign a statistical significance to potential line detections. Two Pilot Surveys, covering around 3000 deg$^2$ of sky, were carried out in 2019-22 to test and verify the strategy for the full FLASH survey. The processed data products from these Pilot Surveys (spectral-line cubes, continuum images, and catalogues) are public and available online. In this paper, we describe the FLASH spectral-line and continuum data products and discuss the quality of the H i spectra and the completeness of our automated line search. Finally, we present a set of 30 new H i absorption lines that were robustly detected in the Pilot Surveys, almost doubling the number of known H i absorption systems at $0.4\lt z\lt1$. The detected lines span a wide range in H i optical depth, including three lines with a peak optical depth $\tau\gt1$, and appear to be a mixture of intervening and associated systems. Interestingly, around two-thirds of the lines found in this untargeted sample are detected against sources with a peaked-spectrum radio continuum, which are only a minor (5–20%) fraction of the overall radio-source population. The detection rate for H i absorption lines in the Pilot Surveys (0.3 to 0.5 lines per 40 deg$^2$ ASKAP field) is a factor of two below the expected value. One possible reason for this is the presence of a range of spectral-line artefacts in the Pilot Survey data that have now been mitigated and are not expected to recur in the full FLASH survey. A future paper in this series will discuss the host galaxies of the H i absorption systems identified here.
Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique.
Warfare, for all its accompanying destruction, misery and death, has always created opportunities, especially in the world of commerce. Within months of the outbreak of the First World War in July 1914, the French music publisher Jacques Durand was faced with a devastating collapse in sales. As Debussy despondently observed in October, ‘who is thinking about buying music? People are much more concerned about potatoes…!’ This book focuses on Durand's response to the crisis, one that was to prove hugely rewarding in both commercial and artistic terms. Within six months of the outbreak of hostilities, his company had produced, in exceptionally challenging conditions, the first volumes of an audacious publishing venture designed to exploit a massive gap in the market, opened up when the French government banned the sale of ‘enemy’ publications. These included the immensely popular editions of the classical music repertoire produced by such German publishers as Peters, Breitkopf & Härtel and Litolff, which dominated the French market. It was with the express aim of replacing these that the Édition Classique A. Durand & Fils was launched.
In what was surely a conscious decision to distance the Édition Classique from association with these proscribed enemy editions, Jacques Durand chose to clothe it in a distinctive livery, its uniform blue-speckled covers and elegantly restrained typeface contrasting strikingly with the assertive Teutonic typography and plain background that characterise the covers of the Peters and other German editions (for illustrations, see Chapter 3, pp. 82 and 94). By contrast, some of Durand's French competitors – notably Maurice Senart, in his Édition nationale de musique classique – chose blatantly to imitate the visual appearance of the Edition Peters.
Designed and advertised as a ‘Popular’ edition, Durand wanted his new venture to have a broad reach of mainly amateur and student markets. In this respect, it was not unique, as we will see. However, Durand's achievement was distinctive on several levels. He had a particular place in the music publishing market and a highly distinguished rostrum of contemporary composers in his catalogue on whom he could draw for this project. Yet his achievement goes beyond these essentials and prompts various questions. What enabled Durand to establish the Édition Classique as arguably the standard edition for performers at all levels?
Jacques Durand's Édition Classique was born in response to a moment of national crisis when the French government banned the sale of ‘enemy’ publications. It gave Durand the chance to exploit a sudden and substantial gap in the market. The project was not unique despite initial hopes that publishers would work together to establish a single French edition of European classics. In the event, Durand's was one of several rival French editions that suddenly entered the musical marketplace. This study, based on extensive archival research, has shown the myriad ways in which it was distinctive and highly successful in remaining a viable collection of editions with numerous reprints well into the late twentieth century. The project was also both culturally and musically revealing about the war and post-war period as European nations asserted their musical priorities and institutions established mechanisms to protect and project their musical values, assets and markets.
Durand's achievement
Although the Édition Classique was not unique, Jacques Durand had influence as the head of the syndicate of publishers. He also had the most notable contemporary composers on his books, many of whom became editors of the Édition Classique: Saint-Saëns, Fauré, Debussy, Ravel, Dukas and Roussel. That some of them were his classmates at the Paris Conservatoire shows that he built on the network that his father had established before him. A number of these composers had previous experience of editing (Saint-Saëns, Dukas and even Debussy), but none could claim to be experts in this activity. Durand also included key teachers at the Conservatoire and prominent performers, all of whom ensured the dissemination and circulation of the edition for generations. While this gave the Édition Classique prominence, it did not protect some of his editors from criticism. Furthermore, due to wartime restraints and the urgency of replacing Peters and Breitkopf editions, few of the editors were able to consult original sources. There were exceptions of course, notably Debussy's scrutiny of Chopin manuscripts that belonged to Saint-Saëns, and Dukas's and Ropartz's consultation of the composers’ own editions for their Scarlatti and Handel volumes. The purpose was not to establish a scholarly edition, but to embed the Édition Classique within the musical marketplace as a reliable, cheap and easily available body of editions. Durand's policy of including prominent names shows that he had a keen eye for marketing and knew that recognisable names would improve sales.
The International Whaling Commission (IWC) currently uses imprecise indicators of death to evaluate the welfare consequences of whaling. A recent independent meeting of animal welfare scientists proposed a series of tests to determine the states of sensibility/insensibility/death of whales. As a precursor to assessing these tests in the field, conjoint analysis was used to evaluate expert opinion and to identify tests deemed most suitable for establishing insensibility and death. The results of this study indicated that experts considered measurement of breathing rate, cardiac activity, coordinated swimming and ocular temperature to be among the most useful for determining that animals were not dead. Furthermore, experts considered that judgements that an animal was dead should be made only after application of a series of different tests. The tests identified may be valuable for assessing stranded whales or animals taken as part of whaling operations.
We describe the scientific goals and survey design of the First Large Absorption Survey in H i (FLASH), a wide field survey for 21-cm line absorption in neutral atomic hydrogen (H i) at intermediate cosmological redshifts. FLASH will be carried out with the Australian Square Kilometre Array Pathfinder (ASKAP) radio telescope and is planned to cover the sky south of $\delta \approx +40\,\deg$ at frequencies between 711.5 and 999.5 MHz. At redshifts between $z = 0.4$ and $1.0$ (look-back times of 4 – 8 Gyr), the H i content of the Universe has been poorly explored due to the difficulty of carrying out radio surveys for faint 21-cm line emission and, at ultra-violet wavelengths, space-borne searches for Damped Lyman-$\alpha$ absorption in quasar spectra. The ASKAP wide field of view and large spectral bandwidth, in combination with a radio-quiet site, will enable a search for absorption lines in the radio spectra of bright continuum sources over 80% of the sky. This survey is expected to detect at least several hundred intervening 21-cm absorbers and will produce an H i-absorption-selected catalogue of galaxies rich in cool, star-forming gas, some of which may be concealed from optical surveys. Likewise, at least several hundred associated 21-cm absorbers are expected to be detected within the host galaxies of radio sources at $0.4 < z < 1.0$, providing valuable kinematical information for models of gas accretion and jet-driven feedback in radio-loud active galactic nuclei. FLASH will also detect OH 18-cm absorbers in diffuse molecular gas, megamaser OH emission, radio recombination lines, and stacked H i emission.
The Rapid ASKAP Continuum Survey (RACS) is the first large sky survey using the Australian Square Kilometre Array Pathfinder (ASKAP), covering the sky south of $+41^\circ$ declination. With ASKAP’s large, instantaneous field of view, ${\sim}31\,\mathrm{deg}^2$, RACS observed the entire sky at a central frequency of 887.5 MHz using 903 individual pointings with 15 minute observations. This has resulted in the deepest radio survey of the full Southern sky to date at these frequencies. In this paper, we present the first Stokes I catalogue derived from the RACS survey. This catalogue was assembled from 799 tiles that could be convolved to a common resolution of $25^{\prime\prime}$, covering a large contiguous region in the declination range $\delta=-80^{\circ}$ to $+30^\circ$. The catalogue provides an important tool for both the preparation of future ASKAP surveys and for scientific research. It consists of $\sim$2.1 million sources and excludes the $|b|<5^{\circ}$ region around the Galactic plane. This provides a first extragalactic catalogue with ASKAP covering the majority of the sky ($\delta<+30^{\circ}$). We describe the methods to obtain this catalogue from the initial RACS observations and discuss the verification of the data, to highlight its quality. Using simulations, we find this catalogue detects 95% of point sources at an integrated flux density of $\sim$5 mJy. Assuming a typical sky source distribution model, this suggests an overall 95% point source completeness at an integrated flux density $\sim$3 mJy. The catalogue will be available through the CSIRO ASKAP Science Data Archive (CASDA).