The putative (auto)antigen and its arthritogenic determinants in C57BL/6 mice remains undisclosed, questioning the value of the model for addressing T cell-driven pathological pathways in arthritis. To circumvent this impediment, we recommend MHC class II congenic C57BL/6N.Q mice, expressing A(q), with which T cell determinants have been thoroughly characterised.

The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.

This article describes an experimental study of the timing in the grand piano action. The function of the action is described by timetables for the motions of the moving parts. Important timing properties included are the relation between key bottom contact and hammer–string contact, the interval of free hammer motion before the impact on the string, and the hammer–string contact duration. The influence of the regulation and dynamic level on these timing properties is analyzed. The results of the measurements are discussed, with a focus on the implications for piano playing, regulation, and design.

Hologram interferometry is applied to study resonances of a violin body. A violin is made and after each major step, modes of vibration are studied. The top plate is studied in six steps: without and with f-holes, with f-holes and bass bar, with an artificial sound post, in the assembled instrument without and with strings. The back plate is studied in four steps: without and with artificial sound post, in the assembled instrument without and with strings. Interferograms of the lowest five to seven modes ranging from about 400 to 1 300 Hz are shown. The top plate is shown to be divided into plate and body resonances. The back plate is acting more as a unit together with the ribs thus mainly giving body-resonances. Deformations of the violin are studied when strings are pressed against the fingerboard, by double exposure hologram interferometry. The lowest air resonance of the sounding box and frequency responses are acoustically measured. In playing the unvarnished violin the tone is found powerful and even.

Investigations into noise-induced hearing loss should consist of two parts: a mapping of the sound environment and a charting of hearing loss. This paper is the first part of such an investigation: a mapping of sound levels and sound spectra within the symphony orchestra. It was found that 'heavy' symphonic music exceeds the permitted dose for industrial noise equivalent to 85 dB(A) for a full working week. The permitted noise dose is reached for 'heavy' music after a working time of 10 hours per week in 'exposed' positions, such as in front of trumpets, and after 25 hours in 'normal' positions. A simple method to estimate the 'noise' exposure in equivalent sound level for combination of different sorts of music has been developed.