We investigate fundamental nonlinear dynamics of ferrofluidic Taylor-Couette flow - flow confined be-tween two concentric independently rotating cylinders - consider small aspect ratio by solving the ferro-hydrodynamical equations, carrying out systematic bifurcation analysis. Without magnetic field, we find steady flow patterns, previously observed with a simple fluid, such as those containing normal one- or two vortex cells, as well as anomalous one-cell and twin-cell flow states. However, when a symmetry-breaking transverse magnetic field is present, all flow states exhibit stimulated, finite two-fold mode. Various bifurcations between steady and unsteady states can occur, corresponding to the transitions between the two-cell and one-cell states. While unsteady, axially oscillating flow states can arise, we also detect the emergence of new unsteady flow states. In particular, we uncover two new states: one contains only the azimuthally oscillating solution in the configuration of the twin-cell flow state, and an-other a rotating flow state. Topologically, these flow states are a limit cycle and a quasiperiodic solution on a two-torus, respectively. Emergence of new flow states in addition to observed ones with classical fluid, indicates that richer but potentially more controllable dynamics in ferrofluidic flows, as such flow states depend on the external magnetic field.

Europeans took their musical traditions with them when they moved to North America. Eventually, however, the United States became so large and diverse, with such deep democratic roots, that different ethnic musical strands emerged and then combined to form important new forms of popular music. By then electronic playback technology had arisen and the United States had become the most influential country in the world, both of which helped propel one of these new popular musics, rock and roll, throughout much of the world, much like Europe and its music dominated and proliferated during what musicians call the common practice period. Today, music teachers in the United States continue to be trained in the European-based art music tradition, but most of their work consists of teaching an array of musical styles to students of every imaginable ethnicity and background. These music educators tend to have dual professional identities: as classical musicians and as teachers of multiple styles of music.

||При преместването си в Северна Америка европейците взели със себе си и музикалните си традиции. В крайна сметка, обаче, Съединените щати дотолкова се разраснали и били различни – с дълбоки демократични корени, - че се появили различни музикални течения, а впоследствие се съчетали така, че да образуват нови форми на популярна музика. Към него момент технологията за електронен плейбек вече била развита и САЩ стават най-влиятелната страна в света, като тези два фактора помогнали за напредъка на един от тези нови популярни музикални жанрове – рокендролът – из по-големия дял на музикалния свят, до голяма степен по начина, по който Европа и нейната музика доминира и процъфтява по време на т.нар. от музикантите период на общата практика (common practice period). Днес учителите по музика в САЩ продължават да бъдат обучавани според базираната в Европа традиция на художествената музика, но в по-голямата си част работата им се състои от преподаване на студентите на спектър от музикални стилове от всяка етничност и произход, които можем да си представим. Тези музикални педагози обикновено имат двойствена професионална идентичност: те са класически музиканти и учители по множество музикални стилове.