Abstract

Improved identification of bacterial and viral infections would reduce morbidity from sepsis, reduce antibiotic overuse, and lower healthcare costs. Here, we develop a generalizable hostgene-expression-based classifier for acute bacterial and viral infections. We use training data (N = 1069) from 18 retrospective transcriptomic studies. Using only 29 preselected host mRNAs, we train a neural-network classifier with a bacterial-vs-other area under the receiver-operating characteristic curve (AUROC) 0.92 (95% CI 0.90-0.93) and a viral-vsother AUROC 0.92 (95% CI 0.90-0.93). We then apply this classifier, inflammatix-bacterialviral-noninfected-version 1 (IMX-BVN-1), without retraining, to an independent cohort (N = 163). In this cohort, IMX-BVN-1 AUROCs are: bacterial-vs.-other 0.86 (95% CI 0.77-0.93), and viral-vs.-other 0.85 (95% CI 0.76-0.93). In patients enrolled within 36 h of hospital admission (N = 70), IMX-BVN-1 AUROCs are: bacterial-vs.-other 0.92 (95% CI 0.83-0.99), and viral-vs.-other 0.91 (95% CI 0.82-0.98). With further study, IMX-BVN-1 could provide a tool for assessing patients with suspected infection and sepsis at hospital admission.

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It is generally assumed that the forces which bring about gastrulation arise from the pressure of dividing cells acting in a plane which passes through the apical and basal poles of the embryo. Morgan ( '27) has expressed it: "AS the cells of one hemisphere or part of it, are turned in, the pressure between the cells of the other hemisphere will be lowered, since the line o f celZs,l so to speak, becomes longer and the smaller cells will be expected to expand, and this in fact occurs." This idea is implicit in the thinking of Rhumbler ( '02), Biitschli ('15), and Assheton ( '16). On the contrary, actually the larva is three-dimensional, and it strikes one that there is something a little false in a simplification which considers forces acting in a plane which has no natural demarcation. I n order to test whether the conventional assumption might have an element of truth in it, a series of experiments were carried out with the larvae of Dendraster excentricus, in which parts of the embryo above the vegetal plate were cut away. If the invagination were due to pressure exerted in a median animal-vegetal plane, then it would depend upon the integrity of the hollow sphere or at least upon that of the 'line of cells,' so that if part of the early gastrula were removed, the beginning inpocketing could not persist but would tend to collapse. The first four figures shown in the plate 'Italics are ours.

This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what follows may act as a tentative opening of a difficult debate. The issue at present is, simply, whether or not Schenkerian theory can be adequately applied to this music. My conclusion is that as yet it cannot, and I shall present my findings in that light, but the reasons for my position must, I think, be spelt out. Thereafter, my specific concern will be to investigate varieties of the use of the diatonic ‘flattened seventh’ in rock, which I shall do by focusing in turn on three issues, investigating them through the analysis of particular examples rather than through any larger generalisations.

There are two seemingly self-evident truths concerning the harmonic practices of popular music. The first, which finds clear expression in Adorno, is that such music's harmonic language is both detrimentally limited and static. The harmonic repertoire is considered to consist of a few formulae (Adorno deals with them in terms of standardisation: see Middleton 1990, p. 45ff.), by means of which song-writers string together their songs, uninfluenced by the song's content. For the expert listener, therefore, popular music should be uninteresting: it is only its psycho-economic dimension which makes it worthy of study. This tends also to be the conclusion of established musicology, except that there it is felt such ‘extra-musical’ speculation is best left to the sociologist. The second truth is that the differences between Afro-American-derived styles are material, since our identities are so strongly incorporated in the styles we use:We mark out the differences between genres and styles partly by reference to contrasts in the way this stock of techniques and sounds is used. (Middleton 1990, p. 88)Since harmony is not only at the forefront of traditional analytical investigation, but also forms an important initial focus for songwriters, it may well be assumed that it is therefore an important factor in enabling us to distinguish, for example, ‘rock’ from ‘pop’ from ‘soul’. However, the material reality behind these differences of style has rarely been subject to systematic investigation.

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