A total of 449 eyes with glaucoma, 67 eyes with ocular hypertension and 189 healthy controls, underwent SD-OCT and confocal laser scanning tomography (CSLT), visual field testing and clinical examination. TrouvC f.11v (empty staves marginal author attribution) TrouvI f.200r (P18) (accessible at ).To characterize the two-dimensional parameter Bruch's membrane opening minimum rim area (BMO-MRA) in spectral domain optical coherence tomography (SD-OCT) of the optic nerve head (ONH) compared to minimum rim width (BMO-MRW) and retinal nerve fibre layer (RNFL) thickness in a large patient cohort.Д¬ase-control, cross-sectional study of 705 eyes of 445 participants.

RS 576: En mai au dous tens novel (Que florissent).201v (empty staves marginal author attribution) TrouvU f.26v-27r (empty staves marginal author ascription added later). In both copies three stanzas only of this song are copied in the text residuum between stanzas 3 and 4 of the anonymous song Quant je voi mon cuer revenir (RS1448), which has a similar versification and would likely have provided the melodic model for this jeu-parti contrafact if notation were available. RS1442a: Gautier, un jeu vous vueil partir.TrouvC f.160v-161r (empty staves marginal author attribution) TrouvU f.27v-28r (empty staves marginal author ascription added later). TrouvC f.168v (with empty staves marginal author attribution) TrouvM f.9r (with melody first two lines torn away rubric gives author name) TrouvT 48r-v (with melody rubric gives author name) TrouvO f.92r-v (marginal author ascription added later with a different continuation after the first stanza).

TrouvC f.12r-v (empty staves marginal author attribution) Abecedary song (letters A-E only) with 10 decasyllabic line strophes rhyming abвЂ™abвЂ™ ccddeвЂ™d (the e rhyme is a rim estramp).

RS 279: En mon chant di que je sui tous semblans.

The dilemma posed is whether Gautier would be less pained by catching his beloved lady in a compromising situation with another knight or by seeing his wife give a single kiss to someone that she shouldnвЂ™t.ДЄmong the songs is the Abecedarium RS 279, which tends to confirm the Lotharingian provenance of the author since the opening word вЂAnвЂ™ is the dialect spelling of вЂEnвЂ™ but is needed to start with вЂAвЂ™ to make the ABC sequence work (that said, the final stanza spells вЂE!вЂ™ as вЂHe!вЂ™). It appears to be copied incompletely (three stanzas only) between stanzas 3 and 4 of another song (see below). The jeu-parti is with one вЂGautierвЂ™ for whom several identifications have been proposed including Gautier de Dargies, Gautier de Formeseles, Gautier de Pontis, and Gautier de Bregi. As the Berne songbook was designed for melodies that were never entered, the Oxford chansonnier TrouvI was not designed for musical notation at all, and no melodies were enter for either of the songs in the Saint-Germain-des-PrГ©s chansonnier, TrouvU, the only song for which a melody can be recovered Or seroit mercis de saison (RS 1894) which has been edited by Tischler. The surviving songs include one jeu-parti and one pastourelle. Only one song, the more widely copied Or seroit mercis de saison (RS 1894) survives with a melody in the Chansonnier du Roi and the Chansonnier de Noailles, which transmit slightly different versions of the melody. As the name is likely a nickname or sobriquet (meaning вЂturned backwardвЂ™ or вЂturned the wrong wayвЂ™) the individual cannot be traced. As all six of these songs are preserved in the Berne Chansonnier (Bern, Burgerbibliothek, MS 389), which was copied in Metz, and all but one of the songs are only copied there and in other Metz-copied sources, the poet-composer can probably be associated with the musical life of medieval Metz. The name is mostly likely a sobriquet meaning 'altered', 'changed', 'reversed', or 'metamorphosed', often 'applied to someone who, by a quirk of fate, under-went a complete reversal of fortune, either favorable or unfavorable'. BestournГ©s (also Bestornez, Bestorneis, le Bastorneis, Baistornez) is a name given to the thirteenth-century trouvГЁre credited with writing five pieces (three love songs, one jeu-parti, and one pastourelle) preserved in later thirteenth and early fourteenth century song books.

Rimed two strophes