Relevant bibliographies by topics / Concerto (Violin)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Concerto (Violin)'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Concerto (Violin)"

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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.

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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Adlington, Robert, Holloway, Kovacic, Tuckwell, SCO, Bamert, Ligeti, et al. "Violin Concerto; Horn Concerto." Musical Times 136, no. 1825 (March 1995): 163. http://dx.doi.org/10.2307/1004015.

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Cleman, Tom, and Henri Lazarof. "Violin Concerto." Notes 46, no. 3 (March 1990): 815. http://dx.doi.org/10.2307/941454.

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Jensen, Byron, William Schuman, Philip Quint, Charles Ives, Jose Serebrier, and Bournemouth Symphony Orchestra. "Violin Concerto." American Music 21, no. 4 (2003): 530. http://dx.doi.org/10.2307/3250580.

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Morgan, Robert P., and Elliott Carter. "Violin Concerto (1990)." Notes 50, no. 3 (March 1994): 1181. http://dx.doi.org/10.2307/898608.

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Palmer, Peter. "Holliger's Violin Concerto." Tempo 59, no. 231 (January 2005): 70. http://dx.doi.org/10.1017/s0040298205220077.

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Whittall, Arnold. "Carter’s Violin Concerto." Tempo 60, no. 236 (March 23, 2006): 75. http://dx.doi.org/10.1017/s0040298206220151.

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Morgan, Robert P., and Anthony Pople. "Berg: Violin Concerto." Music Analysis 12, no. 3 (October 1993): 400. http://dx.doi.org/10.2307/854152.

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Cope, David, and Toshi Ichiyanagi. "Violin Concerto: Circulating Scenery." Notes 44, no. 3 (March 1988): 593. http://dx.doi.org/10.2307/941561.

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Quinn, Peter. "Pēteris Vasks's Violin Concerto." Tempo 59, no. 233 (June 21, 2005): 82–83. http://dx.doi.org/10.1017/s0040298205280257.

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Dissertations / Theses on the topic "Concerto (Violin)"

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Nazor, Craig. "Concerto for solo violin, strings, and percussion /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Holma, Hanna. "Practising and Preparing the Sibelius Violin Concerto." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-73858.

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In my master`s thesis project, I studied different ways to practise the Sibelius violin concerto to become a better violinist.The work describes my personal journey with the Sibelius violin concerto: how in one year, I studied to play the first movement of the concerto. Through this process and this project, I was able to see what my skills as a violinist are and what things I still need to develop. For the study, I got help from my colleagues, who are Finnish violinists, and I interviewed them. I was especially interested in their technical development during their studies so that I could connect the information to my own violin playing. I wanted to improve my technical skills to practise the Sibelius violinconcerto. Other things that I used to study the concerto were literature and recordings to get new ideas and support for my thinking. Also, music courses and master classes were important sources of information for this investigative work. After one year practising the concerto, my technical and musical skills became better. Preparing adifficult romantic concerto raised my level as a violinist. Through the videos I made aboutpractising the Sibelius violin concerto, it was possible to start to develop my performance skills. All the methods and literature I used gave me a more professional view of my violin playing and musicianship. After this research, I can start to work with my art now that I have so many usefultools for practising and performing.   In my master`s thesis project, I studied different ways to practise the Sibelius violin concerto to become a better violinist. The work describes my personal journey with the Sibelius violin concerto: how in one year, I studied to play the first movement of the concerto. Through this process and this project, I was able to see what my skills as a violinist are and what things I still need to develop. For the study, I got help from my colleagues, who are Finnish violinists, and I interviewed them. I was especially interested in their technical development during their studies so that I could connect the information to my own violin playing. I wanted to improve my technical skills to practise the Sibelius violin concerto. Other things that I used to study the concerto were literature and recordings to get new ideas and support for my thinking. Also, music courses and master classes were important sources of information for this investigative work. After one year practising the concerto, my technical and musical skills became better. Preparing a difficult romantic concerto raised my level as a violinist. Through the videos I made about practising the Sibelius violin concerto, it was possible to start to develop my performance skills. All the methods and literature I used gave me a more professional view of my violin playing and musicianship. After this research, I can start to work with my art now that I have so many useful tools for practising and performing.
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Chao, Emily. "Karol Szymanowski's first violin concerto, OP. 35." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10960.

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Thesis (D.M.A.)--Boston University
In the absence of a thriving Polish music scene in the latter half of the 19th century, Karol Szymanowski (1882-1937) sought inspiration in other traditions. Consequently, his music is a cosmopolitan blend of Romantic, impressionistic, and nationalistic styles. Changes in Szymanowski's compositional style over the course of his career can thus be read as musical responses to outside stimuli; first to German, then French and fmally, eastern European folk trends. The first violin concerto, as the epitome of his "impressionistic" period, displays imaginative lyricism and a sensuous and colorful sound world.^1 Szymanowski was evidently pleased with the result. After finishing the piece in August 1916, he wrote, "I must say I am very happy with the whole thing-again a new, different music, but at the same time, a bit of return to the old. The whole thing is terribly fantastical and unexpected."^2 Written in close collaboration with Kochanski, the concerto, together with Myths (1915), exemplifies a "new mode of expression"^3 which highlighted Kochanski's strengths: an irresistibly sweet lyrical tone and left-hand facility. It was this marriage of affinities, a blending of lyricism with innovative coloristic sound effects, which came to signify Szymanowski's violin idiom. The purpose of this dissertation is to provide the following: a thorough examination of the background, history and style of the first violin concerto, a detailed analysis of the work as a whole, and a discussion of performance considerations. Chapter One will provide background history and context, including composer biography, description of his compositional style during his middle period, features of his violin idiom, developed in collaboration with his friend Pawel Kochanski as well as the immediate circumstances of the concerto's composition, with information on its history, premieres, and reception. Chapter Two will be a detailed analysis of the piece, addressing questions of form, harmony, motive, and genre; these fmdings will contribute to a hermeneutic investigation of the piece. Finally, Chapter Three discusses how tools like John Rink's "performer's analysis," historical recordings, genre analysis and narrative analysis can be used to create a more carefully considered interpretation of the piece. 1 Alistair Wightman, Karol Szymanowski: His Life and Work (Brookfield, VT: Ashgate Publishing Company, 1999), 177. 2 Ibid. 3 Alistair Wightman, "Szymanowski, Bartok and the Violin," The Musical Times 12211657 (March 1981), 159.
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Reinert, Gina. "Fantasia do Concerto para violino e orquestra de Octávio Meneleu Campos : uma proposta pedagógica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12220.

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O presente trabalho teve como objetivo a realização de uma proposta pedagógica para a obra Fantasia de Concerto, do compositor brasileiro nascido em Belém do Pará, Meneleu Campos. A partir do conhecimento da obra em questão, foi realizada uma comparação com o chamado repertório tradicional violinístico, a fim de identificar os aspectos técnicos semelhantes e, a partir disso, formular uma proposta pedagógica. A comparação com o repertório tradicional, foi baseada no artigo “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). Para a realização da proposta pedagógica, utilizou-se, como referencial teórico o livro “Practice” (2004) de Simon Fischer, no qual o autor mostra soluções técnicas para passagens do repertório tradicional. Identificados os aspectos técnicos e violinísticos da Fantasia de Concerto, foi possível, baseado nas propostas de Fischer, desenvolver exercícios para a obra em estudo.
This essay aimed at presenting a pedagogical proposal for the work Fantasia de Concerto by Meneleu Campos - a Brazilian composer, born in Bélem do Pará. A study of the work paved the way for a comparison with the standard violin repertoire, thus establishing common technical issues which in turn served as the starting point for the pedagogical proposal. The comparison with the standard repertoire was based on the article “Ousadia e convenção do Segundo Concerto para violino e Orquestra de Camargo Guarnieri” Alvarenga (2000). The pedagogical proposal was based on the book “Practice” (2004) by Simon Fischer. This author offers suggestions on how to work and solve problems found in the standard violin repertoire. Therefore, once the technical difficulties of the Fantasia de Concerto were identified, exercises of a similar nature were devised.
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Houglum, Daniel Patrick. "Sola fides sufficit: Concerto for violin and ensemble." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1633.

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Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit… The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece. My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm. My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.
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Quiroga, Martin. "Concerto Grosso No. 1." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22747.

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This concerto is the composer’s conversation with the past. In four movements, each one embodies a traditional musical form. The work is a continually transforming kaleidoscope of relentless virtuosity, fanciful flights of harmony and melody, and unapologetic shifts in timbre and texture. Although conceived in four separate movements, the entire work is without intervening pauses. The concerto grosso is scored for flute, violin, piano, and string orchestra, and is approximately twenty-five minutes in duration.
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Gorby, Roderick B. "An Appalachian Fantasy for Violin and Orchestra." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275451979.

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Lee, Young Jae. "An analysis of the Violin concerto of Johannes Brahms /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11207.

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Wallin, Erik. "A Hollywood Concerto : En studie om Korngolds violinkonsert." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2996.

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Usarek, Alicja Irena. "The genesis and fate of Béla Bartók's 1907 violin concerto." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004203.

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Books on the topic "Concerto (Violin)"

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Carter, Elliott. Violin concerto. [New York]: Hendon Music, 1992.

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Carter, Elliott. Violin concerto. [New York, N.Y.]: Hendon Music, 1991.

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Stowell, Robin. Beethoven, Violin concerto. Cambridge: Cambridge University Press, 1998.

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Lewis, Peter Scott. First violin concerto. Bryn Mawr, Pa: T. Presser, 1998.

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Pople, Anthony. Berg, Violin concerto. Cambridge: Cambridge University Press, 1991.

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Delius, Frederick. Concerto for violin (1916): For violin and piano. Boca Raton, Fla: Masters Music Publications, 1995.

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Amram, David. Concerto for violin and orchestra: Violin and piano. New York: C.F. Peters, 1995.

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Carlo, Menotti Gian. Concerto for violin and orchestra. New York: G. Schirmer, 1992.

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Delerue, Georges. Le concerto de l'adieu =: ("Farewell concerto"). Los Angeles, CA: Gedel Music, 1993.

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Respighi, Ottorino. Concerto gregoriano: For violin and piano. Boca Raton, Fla: Masters Music Publications, 1998.

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Book chapters on the topic "Concerto (Violin)"

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Jarman, Douglas. "Alban Berg, Wilhelm Fliess, and the Secret Programme of the Violin Concerto." In The Berg Companion, 181–94. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-09056-3_8.

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Brodbeck, David. "Music and the Marketplace: On the Backstory of Carlos Chávez’s Violin Concerto." In Carlos Chavez and His World, edited by Leonora Saavedra, 178–202. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400874200-013.

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Meyer, Stephen C. "The double life of Miklós Rózsa’s Violin Concerto and The Private Life of Sherlock Holmes." In Double Lives, 47–57. London ; New York : Routledge, 2019. | Series: Routledge research in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429019319-5.

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Jayakumar, Shashi. "Terrorism, Radicalisation, and CVE: Practical Considerations and Concerns." In Terrorism, Radicalisation & Countering Violent Extremism, 3–15. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1999-0_1.

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Miner, Michael H. "Civil Commitment of Youthful Offenders: Issues and Concerns." In Sexually Violent Predators: A Clinical Science Handbook, 61–72. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04696-5_5.

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Gunter, Barrie. "What Are the Concerns About Mediated Violence?" In Does Playing Video Games Make Players More Violent?, 1–29. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-57985-0_1.

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Segall, Christopher. "Monogram, Theme, and Large-Scale Form in Alfred Schnittke’s Viola Concerto." In Analytical Approaches to 20th-Century Russian Music, 243–63. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-17.

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Klimmt, Christoph, Hannah Schmid, Andreas Nosper, Tilo Hartmann, and Peter Vorderer. "‘Moral Management’: Dealing with Moral Concerns to Maintain Enjoyment of Violent Video Games." In Computer Games as a Sociocultural Phenomenon, 108–18. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583306_11.

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"Preface." In Beethoven: Violin Concerto, ix—xii. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511605703.001.

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"Towards the Violin Concerto Op. 61." In Beethoven: Violin Concerto, 1–10. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511605703.002.

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Conference papers on the topic "Concerto (Violin)"

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Pu, Lihua. "Jenő Hubay and His Four Violin Concertos." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.253.

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Amminger, Agnes, and Franz Kelnreiter. "Leopold Mozarts „Gründliche Violinschule“. Zur Textcodierung und -präsentation einer digitalen Edition." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.97.

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Leopold Mozart‘s Violin Tutor (Versuch einer gründlichen Violinschule [= “Essay on a well-founded instruction for the violin”], Augsburg 1756) is one of the most important sources concerning the aesthetics of violin playing in the 18th century. A critical digital edition, prepared within the Digital Mozart Edition (DME) at the International Mozarteum Foundation (Salzburg), has been freely accessible online since 14 November 2019; see <https://dme.mozarteum.at/digital-editions/violinschule>. At present, the digital edition includes the first edition of 1756 only; further early releases (1769, 1787) and translations will follow. The editorial concept encompasses features like interactive searchability, synopses of various edited texts and the integration of facsimiles. The article describes how the encoding of the source material accomplishes these objectives and how the digital edition is presented online. The pathway from the textual sources to the online presentation is discussed considering the relations of the sources with each other, their intratextual structure as well as their data types and formats.
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Zendle, David, Paul Cairns, and Daniel Kudenko. "Higher Graphical Fidelity Decreases Players' Access to Aggressive Concepts in Violent Video Games." In CHI PLAY '15: The annual symposium on Computer-Human Interaction in Play. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2793107.2793113.

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Sugaya, Toshihiro. "A Basic Concept for Next Generation DVD: 0.6 mm Substrate Disk Technology using Blue-Violet Laser." In Optical Data Storage. Washington, D.C.: OSA, 2003. http://dx.doi.org/10.1364/ods.2003.wb1.

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Yue, M. G. "Belt Vibration Consideration Moving Contact and Parametric Excitation." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0039.

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Abstract The contacting point between belt and pulley is not fixed but moves along the pulley during vibration and that influences the free span length of the belt. The concept vibrating length is introduced and that will affect the dynamic behavior of the belt. Parametric excitation can occur through periodic variations in belt tension and speed arising from loading of the pulleys by belt-driven accessories and from engine in automotive applications. The most violent oscillations develop and resonance will occur when the frequency of excitation is close to twice or three times the natural frequency for varying tension and speed case, respectively.
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Khonsari, S. V., G. L. England, and B. Joeafshan-Vishkaie. "A New Concept in Joining Diagonal Bracings to Horizontal Ones." In ASME 2005 24th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2005. http://dx.doi.org/10.1115/omae2005-67361.

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A new ‘universal’ structural joint with multiple applications was devised. Its application as a ‘beam-to-column joint’ was already investigated experimentally, and proven to be promising. The results were reported in previous OMAE conferences and elsewhere. Another fruitful application conceived for this joint is in the context of joining (diagonal) braces to the frame members of a structure. In particular, in chevron (inverted V) bracing systems, where the dominating exchanged forces between the combined diagonal braces and the horizontal brace (beam) are ‘shear,’ the use of the devised joint as a joining member can substantially improve the overall behaviour of the structure under dynamic loading, cyclic or else. This is due to the high ‘shear flexibility’ of this joint, emanating from 1) its high ‘shear deformation capacity,’ and 2) the ‘restored ductility’ of its material, both substantiated through experimental studies. However, numerical push-over study of a typical one-storey frame proved the effectiveness of using such notion in chevron-braced frames in every respect—the flexibility of the frame increased substantially. The elastic stiffness and the elastic limit decreased to more reasonable values, which guarantee the stable, non-violent failure of the frame if subjected to overload. Moreover, since this joint works in a ‘sacrificial capacity’ and is in the form of a ‘self-contained’ separate entity, connected to the joined-diagonals and the horizontal braces through bolts, it can be ‘replaced,’ if it receives excess damage, leaving the non-replaceable elements, braces, intact. Finally, since it is capable of joining structural elements of different materials to each other, it is expected to have a potential for being used in every structure, offshore or onshore, prone to be subjected to dynamic, cyclic or else, in its service life.
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Enciso-Quispe, Liliana, Luis Barba-Guaman, Jose Sanchez, and Pablo Alejandro Quezada-Sarmiento. "Simulation of people counter for public service buses of Loja with IoT concept applying the Viola-Jones algorithm." In 2018 13th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2018. http://dx.doi.org/10.23919/cisti.2018.8399322.

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Brown, Alexander L. "Impact and Fire Modeling Considerations Employing SPH Coupling to a Dilute Spray Fire Code." In ASME 2009 Heat Transfer Summer Conference collocated with the InterPACK09 and 3rd Energy Sustainability Conferences. ASMEDC, 2009. http://dx.doi.org/10.1115/ht2009-88493.

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Transportation accidents and the subsequent fire present a concern. Particularly energetic accidents like an aircraft impact or a high speed highway accident can be quite violent. We would like to develop and maintain a capability at Sandia National Laboratories to model these very challenging events. We have identified Smoothed Particle Hydrodynamics (SPH) as a good method to employ for the impact dynamics of the fluid for severe impacts. SPH is capable of modeling viscous and inertial effects for these impacts for short times. We have also identified our fire code Lagrangian/Eulerian (L/E) particle capability as an adequate method for fuel transport and spray modeling. A fire code can also model the subsequent fire for a fuel impact. Surface deposition of the liquid may also be acceptably predicted with the same code. These two methods (SPH and L/E) typically employ complimentary length and timescales for the calculation, and are potentially suited for coupling given adequate attention to relevant details. Length and timescale interactions are important considerations when joining the two capabilities. Additionally, there are physical model inadequacy considerations that contribute to the accuracy of the methodology. These models and methods are presented and evaluated. Some of these concerns are detailed for a verification type scenario used to show the work in progress of this coupling capability. The importance of validation methods and their appropriate application to the genesis of this class of predictive tool are also discussed.
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Yu, Kai, Hamn-Ching Chen, Jang Whan Kim, and Young-Bum Lee. "Numerical Simulation of Two-Phase Sloshing Flow in LNG Tank Using Finite-Analytic Level-Set Method." In ASME 2007 26th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2007. http://dx.doi.org/10.1115/omae2007-29745.

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Impact pressure due to sloshing is of great concern for the ship owners, designers and builders of the LNG carriers regarding the safety of LNG containment system and hull structure. Sloshing of LNG in a partially filled tank has been an active area of research with numerous experimental and numerical investigations over the past decade. In order to accurately predict the sloshing impact load, it is necessary to develop advanced numerical simulation tools which can provide accurate resolution of local flow phenomena including wave breaking, jet formation, gas entrapping and liquid-gas interactions. In the present study, a new numerical method is developed for the simulation of violent sloshing flow inside a three-dimensional LNG tank considering wave breaking and liquid-gas interaction. The sloshing flow inside a membrane-type LNG tank is simulated numerically using the Finite-Analytic Navier-Stokes (FANS) method. The governing equations for two-phase air and water flows are formulated in curvilinear coordinate system and discretized using the finite-analytic method on a non-staggered grid. Simulations were performed for LNG tank in transverse and longitudinal motions including horizontal, vertical, and rotational motions. The predicted impact pressures were compared with the corresponding experimental data. The validation results clearly illustrate the capability of the present two-phase FANS method for accurate prediction of impact pressure in sloshing LNG tank including violent free surface motion, three-dimensional instability and air trapping effects.
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Rijkens, Albert A. K. "The Application of a Proactive Control Method to Evade the Larger Wave Impacts on Fast Ships." In SNAME 13th International Conference on Fast Sea Transportation. SNAME, 2015. http://dx.doi.org/10.5957/fast-2015-046.

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A high speed performance at sea can give an operator a tactical or economical advantage. The success rate of some missions, like Search And Rescue (SAR) operations or patrol duties, is even largely dependent on a quick arrival time of the ship and, thus, demand a high operational speed during daily operations, irrespective of the particular ambient wave conditions. However, a high speed performance in a seaway is often associated with a rather violent motion behaviour in which the resulting large wave impacts, or vertical peak accelerations pose a rather important limiting factor for the vessel’s operability. These impacts not only endanger the safety of the people on board but may also compromise the structural integrity of the ship. Over the past decades, several innovative fast hull forms have been developed in order to reduce these larger wave impacts. One of these designs is called the Enlarged Ship Concept (ESC), in which the length of the hull is increased to enable an optimization of the bow sections from a hydrodynamic point of view (Keuning and Pinkster 1995). This design evolved later into the Axe Bow Concept (ABC), which has an even more radical bow shape to further improve the ship’s behaviour in waves (Keuning 2006).
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Reports on the topic "Concerto (Violin)"

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Bartolomei, Jason, William Casebeer, and Troy Thomas. Modeling Violent Non-State Actors: A Summary of Concepts and Methods. Fort Belvoir, VA: Defense Technical Information Center, November 2004. http://dx.doi.org/10.21236/ada448287.

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Scrivens, Ryan, Steven M. Chermak, Joshua D. Freilich, Thomas W. Wojciechowski, and Richard Frank. Detecting Extremists Online: Examining Online Posting Behaviors of Violent and Non-Violent Right-Wing Extremists. RESOLVE Network, September 2021. http://dx.doi.org/10.37805/pn2021.21.remve.

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Like most of us, violent extremists often leave a digital footprint behind. Researchers, practitioners, and policymakers raise questions about whether violent individuals can be identified online prior to their attacks offline based on their online posting behaviors. Despite ongoing concerns, few empirically grounded analyses have identified which online users have engaged in violent extremism offline and then assessed their digital footprints, and fewer analyses have identified differences in posting behaviors of those who share extreme ideological beliefs but are violent or non-violent in the offline world. This policy note highlights the importance of both identifying and examining the online behaviors of violent and non-violent extremists in preventing and countering violent extremism (P/CVE) and provides researchers, practitioners, and policymakers with a number of recommendations for detecting and analyzing the online behaviors of violent and non-violent extremists in the future.
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Berman, Alison. Self and Ideal-Self Concepts in a Prison Population: (1) Self and Ideal-Self Patterns of Violent and Non-Violent Offenders, (2) Self and Ideal-Self Concepts in Relation to Time Served Within a Prison. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2286.

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Vergani, Matteo. Community-centered P/CVE Research in Southeast Asia: Opportunities and Challenges. RESOLVE Network, January 2021. http://dx.doi.org/10.37805/rve2021.1.

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The definition and understanding of community-centered preventing and countering violent extremism (P/CVE) research lacks analytical clarity. This chapter examines this concept with a focus on the Southeast Asian context, reflecting on opportunities, challenges, and pitfalls, to lay the foundation for future theorization and comparative P/CVE research in local contexts. Collaboration with independent and genuine community actors is advantageous for all stakeholders, since deficient trust, tamed and crystallized relationships, and a lack of resources and capacities can result in biased research findings. The chapter advocates for the establishment of research and evaluation frameworks in National Action Plans, with the aim to set out common definitions, measurement tools, and methodologies in consultation with all stakeholders, including community actors. This is a necessary step in producing systematic, cumulative, and comparative research and evaluation findings that hold true across local contexts. Finally, the chapter discusses the ethical implications of conducting community-centered P/CVE research with minority communities––such as the creation of suspicious, ostracized, and alienated communities––as well as with majority communities. It also speaks to the potential for research findings and topics of focus interfering in or being instrumentalized to impact a country’s democratic process. Although the Southeast Asian context is used to discuss the opportunities and challenges of the different approaches to community-centered P/CVE research, key findings are likely relevant to other contexts.
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