This study examines the demographic makeup of composers in Western classical art song anthologies and reference materials. Generalized (noncomposer or demographic-specific) musical anthologies (n = 379) and reference books (n = 29) were collected through commercial search engines, publisher websites, academic libraries, and private collections. Each composer's gender, race, sexuality, birth nationality, approximate musical period, and number of compositions were collated and categorized from each resource. Definitions for demographic information were adapted from the United States Census Bureau and Human Rights Campaign to center the lens of a contemporary user's experience engaging with these texts. Basic statistics calculated using the composer's demographic information were multiplied by their total number of compositions to capture an aggregate understanding of what identities are likely to be encountered in such a resource. Data collection yielded 12,321 composers (unique n = 3971) and 56,847 songs with repetition. Generalized resources tend to contain the music of specific composer demographics. Included works were composed by primarily straight (n = 43,795, 77.0%), White (n = 55,661, 97.9%), or male (n = 53,864, 94.8%) composers. Z-test results showed significance when comparing musical resources with population estimates in all categories. Man, White, and Queer are significantly higher, while Woman, Black, Indigenous, People of Color (BIPOC), and Straight are lower in the aggregate data than in general population estimates. Man/White/Straight and Man/White/Queer are higher in the data, and all other groups are lower in the aggregate data than general population estimates. The widespread use of art song resources representing a select portion of the available repertoire with unknown editorial impartiality could reinforce canonic ideology by limiting exposure to diverse repertoires. A "French Song" anthology is unlikely to have any women, BIPOC, or queer representation unless designed as a "Women in French Song," "BIPOC French Composers," or "Art Song by Queer French Composers" resource instead.
Customization generation techniques have significantly advanced the synthesis of specific concepts across varied contexts. Multi-concept customization emerges as the challenging task within this domain. Existing approaches often rely on training a fusion matrix of multiple Low-Rank Adaptations (LoRAs) to merge various concepts into a single image. However, we identify this straightforward method faces two major challenges: 1) concept confusion, where the model struggles to preserve distinct individual characteristics, and 2) concept vanishing, where the model fails to generate the intended subjects. To address these issues, we introduce LoRA-Composer, a training-free framework designed for seamlessly integrating multiple LoRAs, thereby enhancing the harmony among different concepts within generated images. LoRA-Composer addresses concept vanishing through concept injection constraints, enhancing visibility via an expanded cross-attention mechanism. To combat concept confusion, concept isolation constraints are introduced, refining the self-attention computation. Furthermore, we propose two inference techniques to accelerate inference speed without performance degradation and enhance the accuracy of the generated region, respectively. Extensive experiments demonstrate that LoRA-Composer significantly outperforms standard baselines, especially in scenarios without image-based conditions such as canny edge or pose estimation.
The father of Czech music, Bedřich Smetana was a brilliant, patriotic Romantic composer who spent his last decade completely deaf. He became progressively ill in his final years and passed away prematurely at 60 years old. Since then, there have been two main propositions for the etiology of his neurological symptoms, in particular his hearing loss: neurosyphilis or osteomyelitis of the temporal bone. This article compares the clinical presentation and pathology of neurosyphilis and osteomyelitis. This article infers which one is arguably the most likely cause based on Smetana's own medical history, signs and symptoms and autopsy findings. Smetana's clinical presentation and pathological results grant us a clearer picture of his neurological condition and allows us to diagnose his final neurological deterioration as complications of neurosyphilis and not osteomyelitis of the temporal bone.
Crovalimab is a novel C5 inhibitor administered first intravenously and then subcutaneously in patients with paroxysmal nocturnal haemoglobinuria (PNH) naive to complement inhibition or switching from eculizumab or ravulizumab. Crovalimab showed efficacy and safety comparable to eculizumab in the pivotal COMMODORE 2 and supporting studies. We characterized crovalimab pharmacokinetics and the relationship between exposure pharmacokinetic parameters and pharmacodynamic biomarkers, efficacy and safety endpoints using pooled data (healthy volunteers [n = 9], naive [n = 210] and switched [n = 211] patients). Pharmacodynamic biomarkers included 50% complement activity and free C5; normalized lactate dehydrogenase was a marker of haemolysis. Adverse events (AEs) of special interest, related serious AEs, related Grade ≥3 AEs and infections were assessed. There was no clinically relevant difference in crovalimab concentrations between naive and switch patients. Bodyweight had a statistically significant impact on crovalimab clearances and volumes of distribution. Thus, the recommended dosing regimen used weight-based, two-tiered dosing (100 kg cutoff). Age did not have a clinically meaningful impact on crovalimab exposure. In COMMODORE 2, and the supporting COMMODORE 1 and 3 studies, complete terminal complement activity inhibition was achieved immediately at the end of the initial intravenous infusion and sustained throughout the treatment period in ≥97% of patients. Crovalimab concentrations above ≈100 μg/mL achieved complete inhibition of terminal complement activity, resulting in disease control with normalized lactate dehydrogenase ≤1.5 × upper limit of normal (ULN). There was no increased risk of AEs at higher exposure. These data confirm an effective crovalimab-dosing regimen that achieves complete terminal complement activity inhibition and disease control in patients with PNH.
Rezső Seress (1899-1968), the composer of the world-famous song "Gloomy Sunday," whose life ended in suicide, is analyzed using a psychobiographical approach. The research question is how can suicide be read through Seress's self-narrations, embedded in the Hungarian cultural, social, and historical context? To answer this question, we integrate Kézdi's theory of the negative code, Wallerstein's world-systems theory, and McAdams's narrative identity theory, linking language, structure, and the self. We analyzed nine song lyrics: counted explicit and narrowly defined implicit negations, calculated negation density (per 100 words), and coded narrative tone and plot, key life events, and agency/communion cues. Throughout the analysis, interpretation is hermeneutic and context-sensitive, with numbers serving as guides. Peaks in negation density appear in the songs "Nobody Has Ever Loved Me" (1930) and especially, "Just Drink, Drink" (1940), aligning with personal and historical crises. Agency markers are minimal or defensive, while communion is consistently framed as loss. No redemptive arc is identifiable; the life story follows a contamination sequence beginning in adversity. These patterns motivate the introduction of the tragic semiperipheral self (TSS) as a culturally and structurally situated narrative type.
By examining several hundred pathographies of composers, we identified numerous skin changes . We emphasize Rachmaninov's melanoma. Notable pathographies were studied in more details and shown chronologically by the composers date of birth. Skin changes in composers were usually mild and rarely fatal.
Dentists enjoy a wide variety of hobbies. Many are associated with music as players, singers or listeners. Wilfred Josephs started to compose as a child but his parents steered him towards a profession with a secure financial future. Although a dentist, he wrote many compositions, gaining worldwide fame when he won first prize in the La Scala International Composing Competition in Milan - the biggest musical award in the world. It was for Requiem, a setting of the Hebrew Kaddish, or mourner's prayer. Music then became his full-time occupation. Wilfred's output included many concertos and symphonies, as well as music for the large and small screen. His fame was such that he had a Society named after him. He also composed Fantasia on three notes for the British Dental Association's centenary meeting.
The rise of AI-generated music has implications for how people derive meaning from the listening experience, including the propensity to imagine a story as music unfolds. Previous research suggests that such narrative listening requires some form of common ground between composer and listener. Therefore, people may be less likely to engage in narrative listening when they believe music is the product of an AI system rather than a human mind. We tested this possibility across two preregistered studies in which US participants (N = 399) listened to several pieces of instrumental music and reported their experience of narrative listening-whether they imagined a story and how engaging it was. When presented with unlabeled, human-composed music, participants reported imagining fewer and less engaging narratives in response to pieces they regarded as more likely computer generated than human composed (Study 1). When we experimentally manipulated the purported composer by labeling human- and AI-composed music clips as either "Human" or "AI" composed, the "AI"-labeled pieces elicited fewer and less engaging narratives than their "Human"-labeled counterparts, regardless of the actual composer (Study 2). Together, these findings suggest that ascribing music to AI is associated with-and can engender-an impoverished listening experience, devoid of the mental narratives that unfold as the composer's musical choices guide the listener's imagination. Our findings contribute to an emerging literature on perceptions of artificial creators, with practical implications for listeners, musicians, and policymakers.
We present a comparative study on the performance of two popular open-source large language models for early prediction of sepsis: Llama-3 8B and Mixtral 8x7B. The primary goal was to determine whether a smaller model could achieve comparable predictive accuracy to a significantly larger model in the context of sepsis prediction using clinical data.Our proposed LLM-based sepsis prediction system, COMPOSER-LLM, enhances the previously published COMPOSER model, which utilizes structured EHR data to generate hourly sepsis risk scores. The new system incorporates an LLM-based approach to extract sepsis-related clinical signs and symptoms from unstructured clinical notes. For scores falling within high-uncertainty prediction regions, particularly those near the decision threshold, the system uses the LLM to draw additional clinical context from patient notes; thereby enhancing the model's predictive accuracy in challenging diagnostic scenarios.A total of 2,074 patient encounters admitted to the Emergency Department at two hospitals within the University of California San Diego Health system were used for model evaluation in this study. Our findings reveal that the Llama-3 8B model based system (COMPOSER-LLMLlama) achieved a sensitivity of 70.3%, positive predictive value (PPV) of 32.5%, F-1 score of 44.4% and false alarms per patient hour (FAPH) of 0.0194, closely matching the performance of the larger Mixtral 8x7B model based system (COMPOSER-LLMmixtral) which achieved a sensitivity of 72.1%, PPV of 31.9%, F-1 score of 44.2% and FAPH of 0.020. When prospectively evaluated, COMPOSER-LLMLlama demonstrated similar performance to the COMPOSER-LLMmixtral pipeline, with a sensitivity of 68.7%, PPV of 36.6%, F-1 score of 47.7% and FAPH of 0.019 vs. sensitivity of 70.5%, PPV of 36.3%, F-1 score of 47.9% and FAPH of 0.020. This result indicates that, for extraction of clinical signs and symptoms from unstructured clinical notes to enable early prediction of sepsis, the Llama-3 generation of smaller language models can perform as effectively and more efficiently than larger models. This finding has significant implications for healthcare settings with limited resources.
Sleep disturbances, particularly insomnia, significantly impact individuals living with Alzheimer's disease and related dementias (ADRD), leading to accelerated cognitive decline, increased institutionalization rates, and faster disease progression. While pharmacological interventions exist, their potential side effects necessitate the exploration of safer, non-pharmacological alternatives. Music interventions have shown promise in addressing sleep disturbances among older adults, yet existing solutions are neither tailored to nor extensively tested in persons living with dementia (PLWD). This study presents the research protocol for CoMPoSER (Calming Music Personalized for Sleep Enhancement in PeRsons living with Dementia), a mobile application designed specifically for PLWD and their caregivers. In the first two phases, the study will involve the development of the application and in the third phase we will employ a pilot randomized controlled trial to assess preliminary effects of the intervention and explore its mechanism of action. The research objectives include developing and refining the CoMPoSER mobile application prototype, investigating its underlying mechanisms, and evaluating its impact on both PLWD and caregiver outcomes. By developing and systematically testing approaches that address sleep disturbances in PLWD, this study aims to expand the repertoire of evidence-based interventions available to PLWD and their families, ultimately contributing to improved quality of life and disease management.
The integration of generative artificial intelligence (GenAI) into music education markedly lowers technical barriers for predominantly novice composers, but also raises concerns about a potential erosion of human creative agency. When learners rely on text prompts to produce music with minimal subsequent involvement, they may fail to develop a sense of psychological ownership over AI-assisted creations. Drawing on the Theory of Psychological Ownership, this study examined the cognitive, affective, and behavioral processes through which perceived GenAI support relates to students' psychological ownership. Survey data were collected from 355 non-music-major undergraduates enrolled in a GenAI-assisted composition course that explicitly required iterative post-generation refinement of AI outputs. Structural equation modeling with bias-corrected bootstrapping was used to test a serial mediation model. The results showed that perceived GenAI support was positively and significantly associated with psychological ownership, and that this relationship operated through a sequential pathway involving creative self-efficacy, flow state, and learner engagement. These findings suggest that GenAI does not inherently alienate learners; when positioned as a cognitive scaffold within a human-in-the-loop design, it is associated with creative confidence, optimal immersion, and active investment of effort. The study highlights the importance of deliberately incorporating productive friction into AI-supported learning activities to elicit an "IKEA effect," thereby transforming algorithmically generated material into personally appropriated creative artifacts.
The term "Jael syndrome" is a symbolic analogy referring to penetrating craniofacial trauma caused, intentionally or accidentally, by blade or similar weapon in which the foreign body is kept in-situ during initial management. It is rare in clinical and medicolegal practice, but is potentially life-threatening or with neurologic and functional impact. Its name comes from an episode in the Book of Judges in the Hebrew Bible (Old Testament) in which Jael, a woman, kills the Canaanite general Sisera by hammering a tent peg through his temple while he is asleep, thus ensuring the liberation of the people of Israel. Over the centuries, the story had an enduring influence on the European artistic and cultural imagination, with numerous paintings, sculptures, musical and literary compositions memorializing the symbolic power of a unique act of violence. Artists such as Abraham Godyn and Artemisia Gentileschi, baroque sculptors, composers such as Georg Friedrich Haendel and French writers such as Victor Hugo gave the figure of Jael a lasting place in our cultural heritage. In medicine, the first description of a penetrating craniofacial injury with the foreign body in-situ was by Geoffrey Jefferson, a British neurosurgeon, in the mid-20th century, who reported a case of orbitocranial impalement. Subsequently, a few rare cases mainly involved isolated case reports or retrospective series, with consequently low levels of evidence for optimal management. Via a present-day case of penetrating facial trauma involving an arrow, this article reviews diagnostic and therapeutic issues in Jael syndrome. The case illustrates the importance of management in a well-equipped tertiary referral center with specialized medical-surgical multidisciplinary teamwork. Management is based on fundamental principles: systematized initial clinical assessment using the ABCDE (ATLS®) algorithm; not moving or removing the foreign body during the initial stage; early protection of the airway and vascular system; and adapted imaging, ideally by head-and-neck CT angiography. Current strategies favor personalized, selective management based on clinical examination, lesion topography and hemodynamic stability, rather than systematic surgical exploration. However, multicenter prospective studies are needed to refine guidelines, notably by integrating advanced imaging and minimally invasive techniques in order to improve functional prognosis in these rare but high-risk trauma.
Previous music interventions for epilepsy have reportedly associated favorable patient outcomes with exposure to Mozart's Sonata for Two Pianos in D Major (K. 448). Other songs have reportedly replicated this phenomenon, raising the possibility that music reportedly associated with favorable outcomes might contain similar properties. This exploratory study investigated this possibility, which could inform a conceptual foundation for prospective works and future hypotheses. Music was assigned to Group A (literature-reported favorable intervention outcomes) or Group B (literature-reported as not favorable intervention outcomes). Both groups had 14 time-varying features describing loudness and frequency extracted. Temporal feature properties were represented by their quasi-periods (time-varying period) and jitter (period deviation). Psychoacoustic features associated with subjective sound perception were extracted from each group to examine descriptive differences between loudness and dissonance-related values. Further analysis of non-intervention works assessed whether patterns were composer-specific or group traits. Significant temporal and psychoacoustic differences were observed. Group A's temporal features had similar quasi-periods with less jitter, whereas Group B's had significantly different quasi-periods with increased jitter. In other words, features of Group A behaved temporally similar with greater stability than Group B. Psychoacoustic estimators indicated that music from Group A exhibited lower loudness and dissonance-related values compared to Group B. Observations from this preliminary study showed contrasting properties between the literature-defined music groups. These observations are not evidence of an association between literature-defined groups and intervention outcomes. However, they could inform future intervention designs following prospective validations in controlled clinical settings.
This study investigated auditory-conceptual associations in children using complex audiovisual stimuli, namely musical excerpts from the Western classical repertoire and drawings. In Experiment 1, we examined whether 6- to 9-year old children were able to consistently match musical excerpts from Prokofiev's Peter and the Wolf with corresponding black-and-white images of the characters. The results confirmed robust associations, particularly for the bird, wolf and duck, while other pairings were more variable. In Experiment 2, we extended this approach by using the musical suite Saint Saëns's Carnival of the Animals, testing whether timbre influences children's audiovisual associations. Children were presented with colour images of animals alongside orchestral or piano versions of the musical excerpts that the composer associated with the animal. The results revealed that, in line with a similar study conducted recently in adults (Di Stefano et al., 2025), participants made significantly above-chance associations for the characters of the lion and the swan. However, unlike in adults, timbre had no significant effect on children's audiovisual pairings. These findings highlight the robustness of auditory-semantic associations presented through audiovisual stimuli in childhood, supporting the idea that certain audiovisual correspondences are developmentally stable, while showing that subtle nuances (i.e., differences in timbre) might emerge later on during development.
My list of medically related anniversaries for 2026 (events in years ending '26 and'76) includes:• Births: Abū al-Walīd Muḥammad ibn Aḥmad ibn Rushd, the physician better known as Averroes (1126); the Flemish botanist Charles de L'Ecluse (Carolus Clusius) (1576); Amadeo Avogadro, Italian physicist (1776); Johann Spurzheim, German physician (1776); George Birkbeck, English physician (1776).• Deaths: Francis Bacon (1626); Jean Anthelme Brillat-Savarin, French lawyer and gastronome (1826); Friedrich Wilhelm Weiß, German physician and composer (1826); René Laënnec, French physician (1826); Philippe Pinel, French physician (1826); Walter Channing, American physician (1876); Victor Babeș, Romanian physician and bacteriologist (1926); William Bateson, English biologist (1926); Emile Coué, French pharmacist and psychologist (1926); Camillo Golgi, Italian anatomist (1926); Emil Kraepelin, German psychiatrist (1926); Einar Aaser, Norwegian physician (1976); Andrew Arthur Abbie, Australian anatomist and anthropologist (1976); Jacques Monod, molecular biologist (1976); George Whipple, American physician (1976); Alexander S Wiener, American physician (1976).• Biomedical texts published: Observationes medicae circa morborum acutorum historiam et curationem by Thomas Sydenham (1676); A Comment on Forty two Histories Discribed [sic] by Hippocrates in the First and Third Books of his Epidemics by John Floyer (1726); The botanical arrangement of all the vegetables naturally growing in Great Britain by William Withering (1776); De generis humani varietate nativa by Johann Friedrich Blumenbach (1776); L'uomo delinquente (Criminal Man) by Cesare Lombroso (1876); Geographical distribution of animals by Alfred Wallace (1876); The theory of the gene by Thomas Hunt Morgan (1926).• Clinical therapies introduced: George Richards Minot and William Parry Murphy (treatment of pernicious anaemia with liver, 1926).• Biochemical and bacteriological observations: Karl Wilhelm Scheele (uric acid in kidney stones, 1776); Otto Unverborden (discovery of aniline, 1826); Robert Koch (the anthrax bacillus, 1876); James Batcheller Sumner (crystallisation of jackbean urease, 1926).• Establishment of the Edinburgh Medical School (1726) and of The Body Shop (Anita Roddick, 1976).• Epidemics of typhus in Spain (1576) and Ebola virus infection in Yambuku, Zaire (1976).• Nobel prizes for physiology or medicine awarded to Baruch Samuel Blumberg for identifying Australia antigen as an indicator in the blood of hepatitis B and to Daniel Carleton Gajdusek for his work on the origin and spread of infectious diseases, particularly slow virus infections and specifically kuru (both 1926), and to Johannes Andreas Grib Fibiger for discovering the Spiroptera carcinoma (1976).
A lyric essay by two writers and academics who are victim survivors of child sexual abuse (CSA) perpetrated by their biological fathers. Taking a survivor-centred approach, and referring to their own lived experience, Clare Best and Patricia Debney interrogate representations of, and allusions to, CSA in the 2025 opera Festen* in particular, and in the arts more generally, focusing on themes such as denial, use of language and the aftermath of trauma.*The opera Festen (composer Mark-Anthony Turnage, librettist Lee Hall) was first staged at The Royal Opera House, Covent Garden, London, in February 2025. Turnage and Hall based their opera on the 1998 Dogme 95 film with the same title, directed by Thomas Vinterberg. In Festen, revelations of CSA are made by Christian and Helena at their father Helge Klingefeldt's sixtieth birthday party. The drama revolves around the reactions and interactions of party guests, hotel staff and various members of the family including the perpetrator Helge and his wife Else (mother to his children).
The cytochrome P450 (CYP) 1A subfamily, regulated by the aryl hydrocarbon receptor (AhR), is central to the bioactivation or deactivation of xenobiotics, endogenous substrates, and carcinogens. Music can alter hormonal and neurotransmitter concentrations, which are partly regulated by CYP-dependent pathways. This study investigated whether defined musical elements modulate hepatic CYP1A in male and female Sprague-Dawley rats. Animals were exposed for 24 h to music containing variations of rhythm, tempo, and harmony. Of all conditions tested, fast-tempo, irregular-rhythm, and atonal-harmony (FT-IR-AH) produced the greatest increases in hepatic CYP1A1 (7-ethoxyresorufin O-deethylase) and CYP1A2 (7-methoxyresorufin O-demethylase) activities. In the combined-sex cohort, FT-IR-AH music increased CYP1A1 maximum velocity (Vmax) and intrinsic clearance (CLint) by 3.2- and 3.1-fold, respectively, and increased CYP1A2 Vmax and CLint by 1.9- and 1.8-fold, respectively, without altering enzyme affinities. FT-IR-AH also increased CYP1A1 protein expression by 1.9-fold in females and 2.6-fold in males, and CYP1A2 by 1.6-fold and 1.7-fold, respectively, with concordant elevations in mRNA levels. Replication of the same music elements across different music composers yielded consistent findings, with variations in effects potentially attributed to percentages of gaps (i.e., staccato) and frequency patterns. Selective induction of AhR-regulated genes in the absence of nuclear factor erythroid 2-related factor 2-dependent antioxidant gene activation suggests that FT-IR-AH music selectively engages AhR signaling without a generalized oxidative stress response. These data identify specific music features as an external stimulus capable of modulating CYP1A expression and function, with potential implications for therapeutic responses, toxicological effects, and drug interactions.
We contribute a design study on using visual analytics for AI-assisted music composition. The main result is the interface MAICO (Music AI Co-creativity), which allows composers and other music creators to interactively generate, explore, select, edit, and compare samples from generative music models. MAICO is based on the idea of visual parameter space analysis and supports the simultaneous analysis of hundreds of short samples of symbolic music from multiple models, displaying them in different metric- and similarity-based layouts. We developed and evaluated MAICO together with a professional composer who actively used it for five months to create, among other things, a composition for the Biennale Arte 2024 in Venice, which was recorded by the Munich Symphonic Orchestra. We discuss our design choices and lessons learned from this endeavor to support Human-AI co-creativity with visual analytics.
Music is widely recognized as a powerful elicitor of embodied emotion, yet the precise mechanisms by which auditory patterns are translated into specific bodily feelings remain underspecified. Existing models of contagion and entrainment often lack granular mappings between musical features and distinct interoceptive states. This article proposes a novel theoretical framework viewing musical emotion as an instance of active interoceptive inference. I argue that musical structures (e.g., rhythm, dynamics, timbre) function as "pseudo-interoceptive" evidence. Within a hierarchical generative model, the brain integrates these cues with actual physiological signals and extramusical context to infer the somatic state of a "virtual body" implied by the music. Conceptually, this approach extends bottom-up theories by emphasizing top-down predictions. It is posited that the resulting conscious experience is a composite: it blends the listener's genuine physiological arousal-serving as an energetic substrate-with the simulated affective qualia of the virtual persona. To illustrate this, principled mappings are proposed between musical parameters and internal states, specifically focusing on cardiac and pain-like sensations. Analyses of works by Mozart, Schubert, Berlioz, Beethoven, and Verdi demonstrate how composers manipulate these cues to drive a relatively high level of precision-weighted prediction error, thereby sustaining attention and fostering immersion as the music unfolds. Ultimately, this framework redefines music-induced emotion as a "controlled hallucination" of bodily change, offering new insights into aesthetic empathy and the therapeutic potential of music.
The Hippocratic Oath is one of the most known medical texts. Despite its importance, it was rarely used in art and music. There exist only two complex musical settings of the Hippocratic Oath: "SERMENT-ΟΡΚΟΣ pour chœur mixte" ("Oath for mixed chorus") by Iannis Xenakis (1922-2001) and "Der Eid des Hippokrates für Klavier zu 3 Händen" ("The Hippocratic Oath for piano three hands") by Mauricio Kagel (1931-2008). Both being among the most important composers of the 20th century: Xenakis attempted to apply stochastic processes to his compositional techniques and Kagel is considered a pioneer of instrumental theatre. Both musical settings of the Hippocratic Oath were commissioned by medical institutions: Xenakis composed the work "Serment" in 1981 as a commission for the 15th World Congress of the "International Society of Cardiovascular Surgery" in Athens. "Der Eid des Hippokrates" was composed by Kagel in 1984 on behalf of the German medical journal "Deutsches Ärzteblatt". Both works are therefore intended for medical practitioners and both are influenced by the pathography of the two composers. This article will present results of the analysis and interpretation from a medical-historical perspective.