Mechanical cardiovascular assist devices must be properly designed to avoid damage to the blood they contact. The factors that affect the hemocompatibility of a cardiovascular assist device include three major non-physiological components - the material, fluid flow paths, and flow related stresses, - as well as the device interaction with the native vasculature. Furthermore, the interaction of the device with the blood is not static. Foreign surfaces activate blood components including platelets, leukocytes and the coagulation cascade. Thrombus formation on the surface of the device can alter the fluid dynamics in a manner that causes erythrocyte damage ranging from significant hemolysis to sub-lethal trauma that can take many days to weeks to develop into a significant clinical problem. This sub-lethal blood trauma is not easily detectable without special equipment, which is typically unavailable in routine clinical practice. Surveillance for blood damage is often sub-optimal in the clinical setting, but once clinically relevant hemolysis occurs, crucial decisions - device removal, replacement, or additional medical therapies including surgery or plasmapheresis - that take into account the risk/benefit of intervention must be quickly evaluated. The various preclinical designs and testing, surgical considerations, available surveillance techniques, and clinical consequences will be discussed using recent and historical case reports to highlight key points.

The musical, social and political history of the renowned St Thomas School and Church In the seventeenth and eighteenth centuries, the cantors of the St. Thomas School and Church in Leipzig could be counted among the most significant German composers of their times. But what attracted these artists - from Seth Calvisius to J.S. Bach to Johann Adam Hiller - to the music school and choir and inspired them to explore new repertoire of the highest standing? And how did the cantors influence the musical profile of the school - a profile that often became a bone of contention between school and city hall? The success of the St. Thomas School was not a foregone conclusion; its history is replete with challenges and setbacks as well as triumphs. The school was caughtbetween the conflicting interests of enthusiastic mayors and townspeople, who wanted to showcase the city's musical culture, and opposing parties, including jealous rectors and elitist sponsors, who argued for the traditional subordination of the cantorate to the school system. Drawing on many new, recently discovered sources, Michael Maul explores the phenomenon of the St Thomas School. He shows how cantors, local luminaries and municipal politicians overcame the School's detractors to make it a remarkable success, with a world-famous choir. Illuminating the social and political history of the cantorate and the musical life of an important German city, the book will be ofinterest to scholars of Baroque music and J.S. Bach, cultural historians, choral directors, and musicologists and performers studying historical performance practice. MICHAEL MAUL is Senior Scholar at the Bach-Archiv Leipzig and lecturer in musicology at the universities of Leipzig/Halle. He is also the artistic director of the annual Leipzig Bach Festival.

Today, the names Bach and Mozart are mostly associated with Johann Sebastian Bach and Wolfgang Amadeus Mozart. But this volume of Bach Perspectives offers essays on the lesser-known musical figures who share those illustrious names alongside new research on the legendary composers themselves. Topics include the keyboard transcriptions of J. S. Bach and Johann Gottfried Walther; J. S. Bach and W. A. Mozart's freelance work; the sonatas of C. P. E. Bach and Leopold Mozart; the early musical training given J. C. Bach by his father and half-brother; the surprising musical similarities between J. C. Bach and W. A. Mozart; and the latest documentary research on Mozart's 1789 visit to the Thomasschule in Leipzig. An official publication of the American Bach Society, Bach Perspectives, Volume 14 draws on a variety of approaches and a broad range of subject matter in presenting a new wave of innovative classical musical scholarship. Contributors: Eleanor Selfridge-Field, Yoel Greenberg, Noelle M. Heber, Michael Maul, Stephen Roe, and David Schulenberg