To see the other types of publications on this topic, follow the link: Cover albums.
Journal articles on the topic 'Cover albums'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Cover albums.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.
Full textAbstract:
For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
2
Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.
Full textAbstract:
Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
3
Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.
Full textAbstract:
Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.
4
Vajda, Peter, Ivan Ivanov, Jong-Seok Lee, and Touradj Ebrahimi. "Epitomize Your Photos." International Journal of Computer Games Technology 2011 (2011): 1–11. http://dx.doi.org/10.1155/2011/706893.
Full textAbstract:
With the rapid growth of digital photography, sharing of photos with friends and family has become very popular. When people share their photos, they usually organize them into albums according to events or places. To tell the story of some important events in one’s life, it is desirable to have an efficient summarization tool which can help people to receive a quick overview of an album containing large number of photos. In this paper, we present and analyze an approach for photo album summarization through a novel social game “Epitome” as a Facebook application. This social game can collect research data, and, at the same time, it provides a collage or a cover photo of the user’s photo album, while the user enjoys playing the game. The proof of concept of the proposed method is demonstrated through a set of experiments on several photo albums. As a benchmark comparison to this game, we perform automatic visual analysis considering several state-of-the-art features. We also evaluate the usability of the game by making use of a questionnaire on several subjects who played the “Epitome” game. Furthermore, we address privacy issues concerning shared photos in Facebook applications.
5
De la Iglesia, Martin. "I'M ALWAYS TOUCHED BY YOUR PRESENCE, DEAR: BLONDIE ALBUM COVERS AND THE CONCEPT OF PRESENCE." Revista Europeia de Estudos Artisticos 4, no. 2 (2013): 59–95. http://dx.doi.org/10.37334/eras.v4i2.58.
Full textAbstract:
Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers
6
Isnandar, Atang Riyan, and Wantoro Wantoro. "Analisis Tipografi pada Logotype Band Forgotten." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (2016): 121–36. http://dx.doi.org/10.33633/andharupa.v2i02.1180.
Full textAbstract:
Abstrak Forgotten merupakan band asal kota Bandung yang beraliran death metal. Band ini telah memiliki beberapa album yang cukup sukses. Salah satu faktor yang turut berperan penting dalam album-album Forgotten adalah desain sampul album. Sampul album merupakan identitas dan pesan dari musik yang dibawakan oleh Forgotten. Dalam sampul album, terdapat salah satu elemen visual yaitu Tipografi. Salah satu peran tipografi dalam sampul album Forgotten adalah sebagai logotype dari band. Yang menarik, dari lima album yang telah dirilis Forgotten yaitu “Future Syndrome” (1997), “Obsesi Mati” (2000), “Tuhan Telah Mati” (2001), “Tiga Angka Enam” (2003) dan “Laras Perlaya” (2011) adalah tampilan logotype band yang selalu berbeda. Perubahan logotype Forgotten disebabkan oleh beberapa faktor seperti adanya perubahan selera, transformasi musik dan pergantian personil yang dialami oleh band Forgotten. Perubahan ini berakibat pada munculnya kesan visual yang berbeda-beda dari masing-masing logotype di setiap sampul albumnya. Apalagi logotype band dengan genre death metal memiliki kecendrungan yang unik, dekoratif, bahkan sulit untuk dibaca. Oleh karena itu untuk mengetahui kesan visual yang dimunculkan oleh setiap logotype akan dilakukan penelitian dengan pendekatan tipografi. Tujuan dari penelitian ini adalah selain untuk mengetahui perubahan logotype dari kelima sampul album yang telah dirilis oleh Forgotten juga ingin mengetahui kesan visual terhadap tipografi terkait dengan prinsip kejelasan (legibility), keterbacaan (readability) dan kemampuannya untuk dilihat pada jarak tertentu (visibility). Kata Kunci: Sampul Album, Tipografi, Logotype, Forgotten Abstract Forgotten is a band from Bandung, the death metal genre. The band has had some fairly successful album. One of important factor in albums Forgotten is the album cover design. The album cover are the identity and the message of the music performed by the Forgotten. In the cover of the album, there is one visual element called Typography. One role of typography in Forgotten album cover is a logotype of the band. Interestingly, there is change of logotype in five albums that have been released Forgotten namely "Future Syndrome" (1997), "Obsession Dead" (2000), "God is Dead" (2001), "Three Figures Six" (2003) and "Laras Perlaya" ( 2011). Forgotten logotype changes caused by several factors such as the changing tastes, music and transformation experienced by the personnel changes the band Forgotten. These changes resulted in the emergence of the visual impression different from each logotype in all the album artwork. Moreover logotype band with death metal genre has a tendency of unique, decorative, even difficult to read. Therefore, to determine the visual impression that is raised by each logotype will do research with the approach of typography. The purpose of this study was to assess changes in addition to the logotype of the fifth album cover that has been released by Forgotten also want to know the visual impression of the typography related to the principle of clarity (legibility), legibility (readability) and its ability to be seen at a certain distance (visibility).Keywords: Album Cover, Tipography, Logotype, Forgotten
7
Juszczyk, Andrzej. "Synchroniczne alter ego. Podwojenie i alternatywność w twórczości Neurosis i Tribes of Neurot." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 62–71. http://dx.doi.org/10.24917/20837275.10.3.5.
Full textAbstract:
Synchronous alter-ego. Doubling and alternative in the work of Neurosis and Tribes of Neurot This paper concerns at ”doubleness” in work of Neurosis and Tribes of Neurot. The activity of both groups seems to be simultaneous: the same artists in the both bands, the same names of their albums, the same trakclists, similar cover designs suggest to treat it not as different ventures but as a significant dual artistic project. Parallel between simultaneous albums of Neurosis and Tribe of Neurot makes an impression of disturbing presence of unclear alterego in their music.
8
Castelnuovo Biraben, Natalia. "Visualizing Development. A visual narrative in photo albums." Revista de Antropologia Visual 2, no. 29 (2021): 1–15. http://dx.doi.org/10.47725/rav.029.06.
Full textAbstract:
Development Projects and programs have frequently appeal to images and in particular to photography in diverse textual registers and virtual spaces: technical reports, illustrating NGOs websites, passbooks and report cover, brochures for donors, among other things. If in some of this registers images appear subsidized to a main text, in other they occupy a prominent place in development narrations. It was this aspect precisely that called my attention to examine a photographic corpus arranged in albums that register the implementation process of a development program intended for indigenous people in northern Argentina: to find out in its pages a development visual narrative. The photo albums under analysis were produced during the implementation of “Componente de Attention a la Población Indígena” between 1999 and 2005. The photographic images appear with all their creative potential and load with an interpretation about the development world. They invite us to reflect upon the marginal place of photography in the development field.
9
Weir, Christine. "Rev. John Burton frames the Fiji Methodist Mission, 1924." Journal of New Zealand & Pacific Studies 8, no. 2 (2020): 171–91. http://dx.doi.org/10.1386/nzps_00036_1.
Full textAbstract:
In his role as General Secretary of the Australasian Methodist Missionary Society in the 1920s and 1930s, Reverend John W. Burton travelled each winter to one of the ‘mission fields’ in the South Pacific to inspect the mission’s activities, and to encourage and advise. Accompanying him was his camera; Burton had long been an enthusiastic photographer. Following his 1924 visit to Fiji he created two albums of his photographs, one illustrating the indigenous Fijian mission, the other the Indian mission. This article focuses on the ‘social biography’ of the photographs, and examines Burton’s choice and balance of subjects in each album, which cover educational and other mission activities, village and town scenes, landscapes and individual and group portraits. It also considers the placement and message in context of many of the individual photographs when they were later reproduced to illustrate stories in the mission magazine, Missionary Review, of which Burton was the Editor.
10
Bestley, Russ. "The Top of the Poppers sing and play punk." Punk & Post Punk 8, no. 3 (2019): 399–421. http://dx.doi.org/10.1386/punk_00006_1.
Full textAbstract:
By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk and the concomitant shift towards ‘new-wave’ styles led to a degree of UK chart success for a number of groups. The inclusion of punk and new-wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the long-standing budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new-wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologized ‘outsider status’. From their saccharine cover images, harking back to the pin-ups of the 1950s, to the awkwardly dated language of sleeve notes and the notion that the diversity of contemporary ‘pop’ is not tarnished by subcultural differences, these albums reflect a fascinating period in punk’s acceptance, maturity and, perhaps, reluctant commodification.
11
Panagarso, Iwan Sandi, and Calvindo Bagas. "ASPEK HUKUM PENGCOVERAN LAGU DITINJAU DARI UNDANG-UNDANG HAK CIPTA." Jurnal Justiciabelen 2, no. 2 (2020): 44. http://dx.doi.org/10.30587/justiciabelen.v2i2.1638.
Full textAbstract:
Factors affecting the violation of copyright in songs or music in Indonesia are economic factors, socio-cultural factors, educational factors, weak law enforcement against violators. The forms of copyright infringement in Indonesia, namely Bootleg, namely piracy committed when the singer performs (Live Show). Counterfeit is a song hijacking done by copying directly, copying the cover and packaging exactly and Pirate is done by using various songs and various record albums that sell in the market.
12
Loh, Eva-Maria, Sigrid Eyb-Green, and Wolfgang Baatz. "The Development of Mounts and Mounting Techniques at the Albertina in Vienna from 1805 to 2018." Restaurator. International Journal for the Preservation of Library and Archival Material 40, no. 3-4 (2019): 141–71. http://dx.doi.org/10.1515/res-2019-0026.
Full textAbstract:
Abstract This article is part of the oral history research project at the Academy of Fine Arts Vienna and discusses the development of mountings and passe-partouts at the Grafische Sammlung Albertina from 1805 until 2018. Based on the history of passe-partouts, the professionalisation of paper conservation in Vienna can be described. Passe-partouts of drawings and prints were chronologically classified. The collection history, the appearance of the passe-partouts as well as inventory catalogues and collection stamps served to classify the passe-partouts. The prints were mounted on back mounts at the beginning of the 19th century, after 1822 they were stored in albums. Since 1900, prints were removed from the albums, from nationalisation in 1919 onwards, they were set in passe-partouts. The drawings, however, were always kept in passe-partouts. At the beginning, these only consisted of back mounts. In the 1860ies, they were supplemented by a window mount. The hinged window mount that appeared in the 1960ies has been complemented with a cover sheet since the 1990ies.
13
Krikorian, Béatrice, and Josiane Sartre. "The Bibliothèque des Arts décoratifs in Paris, 1864-1904-2004." Art Libraries Journal 29, no. 3 (2004): 10–14. http://dx.doi.org/10.1017/s0307472200019003.
Full textAbstract:
The Bibliothèque des Arts décoratifs, founded in 1864, has been available to students, researchers and professionals from the art world as a place of reference which does not charge ever since it moved to the rue de Rivoli in 1904. Its bibliographic database of 100,000 records can be consulted on-site or over the internet. But perhaps its most distinctive feature is the extensive Maciet iconographic collection, whose loose-leaf albums cover the walls of the reading room and contain over a million images classified by subject; this is currently being digitised.
14
Kintner, Amy. "Back to the garden again: Joni Mitchell's ‘Woodstock’ and utopianism in song." Popular Music 35, no. 1 (2015): 1–22. http://dx.doi.org/10.1017/s0261143015000793.
Full textAbstract:
AbstractJoni Mitchell's ‘Woodstock’ is one of the most recognisable songs about the 1969 festival, yet Mitchell did not attend Woodstock and instead wrote her song in a New York City hotel room. The song ‘Woodstock’, then, represents the event not as it literally happened, but as it could have been, as an idealised depiction of nostalgia for the festival and the era's utopian potential. I analyse Mitchell's song as a utopian text and investigate the political efficacy of ‘Woodstock's musical and lyrical content for Mitchell, for other artists who cover the song, and for audiences who may recognise it as the festival's ‘theme’. As her career continues, Mitchell abandons the folk-based style of her early albums, but keeps ‘Woodstock’ an active part of her performance repertoire. I trace three later versions to show that the utopianism of the original disappears as Mitchell re-imagines the song, the event and its ideological legacy.
15
Amenorvi, Cosmas Rai. "Exodus In ‘Exodus’: A Multimodal Analysis of Bob Marley’s Lyrics." International Journal of Language and Literary Studies 1, no. 3 (2019): 20–29. http://dx.doi.org/10.36892/ijlls.v1i3.90.
Full textAbstract:
This paper employs a multimodal analytical approach in analyzing the theme of exodus in Bob Marley’s ‘Exodus’ album where attention is given to four main areas, namely, the album’s cover design, the employment of lexical items, the use of literary devices as well as aesthetics by which Marley conveys the theme of exodus throughout the album. Findings show that the album’s cover design is symbolically employed to project the theme of exodus. The choice of the gold color as the background as well as the inscription of ‘EXODUS’ in red in the heart of the golden background equivocally reveals Africa’s ‘golden’ contributions to the West while the Africans in the West are ‘bleeding’(red), a reason for which they must embark on an exodus. Lexically, Marley employs content emotion-packed lexical items, namely nouns, verbs, adjectives and adverbs, to project the theme of exodus. Besides, Marley relies heavily on literary devices such as allusion, equivocation, metaphor, repetition and rhyme as tools for the projection of the theme of exodus in his ‘Exodus’ album. Finally, by deliberate design, the names of the songs of the album, their arrangement as well as their number all aesthetically tell a conscious but beautiful story in the name of the overall theme of exodus in the album by the same name, making Marley’s ‘Exodus’ album not merely a classical musical piece but a discourse masterpiece equivalent to one from a skilled troubadour.
16
Neal, Jocelyn R. "“Tennessee Whiskey” and the Politics of Harmony." Journal of Popular Music Studies 32, no. 2 (2020): 214–37. http://dx.doi.org/10.1525/jpms.2020.32.2.214.
Full textAbstract:
In 2015, country singer Chris Stapleton, lauded for his allegiance to hard country music, stepped on stage at the Country Music Association annual awards show in Nashville, Tennessee, and knocked out a stunning performance of “Tennessee Whiskey.” The moment was heralded by critics and fans alike as a celebrated return to roots-oriented, traditional, hard country music. But Stapleton's cover version rewrote the song over a historically significant soul groove. In so doing, he presented a musical-political statement about the past and present of country music that challenged its acknowledged racial politics. The analyses presented here, centered on Stapleton and Sturgill Simpson, weave these threads together into a sonic explanation of country music's contradictory senses of genre identity, musical style, and racial politics. They propose a new historical perspective on the confluence of country and soul in the early 1960s, most memorably realized in the two Modern Sounds in Country and Western Music albums that Ray Charles released in 1962. What emerges in conclusion is a subversive narrative that reinvents modern hard country music through a lineage of R&B and soul.
17
Kaźmierczak, Joanna. "„Kadzidła i miętówki”. Orientalizm a psychodeliczne okładki płytowe w drugiej połowie lat sześćdziesiątych XX wieku." Prace Kulturoznawcze 21, no. 4 (2018): 153–68. http://dx.doi.org/10.19195/0860-6668.21.4.9.
Full textAbstract:
“Incense and peppermints”. Orientalism and psychedelic album covers in the second half of the 1960sThe article focuses on three intertwining subjects: 1 psychedelic culture of the 1960s, 2 orientalism in culture and 3 album cover art. Its most important goal is to support the process of inclusion to the discussion about the orientalist phenomenon in popular music in the 60s the problematics of the design of album covers, which had been rarely taken into consideration in such context up to this day. Secondly, regarding the fact that the narration on the reflection about the album cover art of that decade tends to focus almost entirely on the artworks related to very few musical groups — most importantly The Beatles — another aim of this article is to point to the wider range of artists, who experimented with orientalist motives both in their music and in their professional image. Psychedelia can be seen in such context as an artistic current which produced the most fertile and culturally most significant fusion between orientalism and popular music in the 1960s. As the examples of this process, the album covers of such artists as The Byrds, Curved Air, The Jimi Hendrix Experience, The Moody Blues, The Rolling Stones or The Strawberry Alarm Clock, et al., are being named. The formal and contextual analysis of the presented spectrum of album covers here narrowed down solely to American and British editions rests upon the definition of psychedelic art as an artistic action inspired by the aesthetic components of psychedelic experience, rather than occurring under the direct influence of a psychedelic drug.
18
INGLIS, IAN. "‘Nothing You Can See That Isn't Shown’: the album covers of the Beatles." Popular Music 20, no. 1 (2001): 83–97. http://dx.doi.org/10.1017/s0261143001001325.
Full textAbstract:
From their release in the 1960s, the LPs of the Beatles have dominated the various selections and lists which routinely purport to identify the most popular/most influential/best albums of the popular music era. Throughout each subsequent decade, the verdicts expressed in audience polls, in critics' choices and in the comments of other musicians have served to effectively maintain and enhance the group's reputation.There is, however, an additional way - often alluded to, but rarely investigated - in which the albums of the Beatles are celebrated. Almost without exception, the album covers themselves have been seen as groundbreaking in their visual and aesthetic properties, have been congratulated for their innovative and imaginative designs, have been credited with providing an early impetus for the expansion of the graphic design industry into the imagery of popular music, and have been seen as largely responsible for allowing the connections between art and pop to be made explicit.
19
Turner, Elizabeth. "The cover of Herbs’ first Pacific reggae album: Perusing the paratext." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 5–18. http://dx.doi.org/10.24135/backstory.vi6.42.
Full textAbstract:
The cover of Herbs’ award-winning EP What’s Be Happen? is dominated by an image of the final day of the Bastion Point occupation in Ōrākei, Auckland on 25 May, 1978. Released in 1981, the album has been recognised in a number of music industry awards for its important contribution to cultural life in Aotearoa New Zealand, and for the musician’s brave political stance in a period of activism that achieved significant social change. This article presents an analysis of the ways in which the record cover acts as a visual and textual introduction to the songs it encloses. Drawing on theorisations of features of paratext such as the title and images on a record sleeve as thresholding devices and as textual extensions of the records they enclose, the paper explores Herbs’ album title, the typographic forms of the title and the band’s name, and the use of colour, as well as the textual organisation of the songs on the two sides of the record. With reference to the social and political context at the time of the album’s release, the article offers an interpretation of the identifications and values signified by these elements of the cover, as carriers of meaning.
20
González Hernández, José Omar. "Appropriating the extreme: Interculturality and the decolonization of the image in extreme metal in México and Colombia." Metal Music Studies 7, no. 1 (2021): 119–28. http://dx.doi.org/10.1386/mms_00036_1.
Full textAbstract:
In this short article, I engage in a musical iconographic analysis of album covers from extreme metal bands, specifically those belonging to the subgenres of death metal and grindcore, in both México and Colombia. Both countries have gone through socio-historical processes marked by violence, which, by extension, have resulted in the popularization of consumer media products based on said violence (e.g. war against drug traffickers). My analysis rests on a transhistorical outline of the constant forms of domination that both countries have suffered since the conquest of the American continent and the ways in which Latin American extreme metal represents these experiences through the artwork of their albums, thus engaging in a process of decolonization of the imaginary through the reappropriation of imagery traditionally used in extreme metal.
21
Fadilla, Nur, Dwi Setiyadi, and Rosita Ambarwati. "Intended meaning of Coldplay’s album cover “A Head Full of Dreams”: semiotic study." English Teaching Journal : A Journal of English Literature, Language and Education 6, no. 2 (2019): 87. http://dx.doi.org/10.25273/etj.v6i2.4463.
Full textAbstract:
<p>The study entitled “Intended Meaning of Coldplay’s Album Cover “A Head Full of Dreams”: Semiotic Study”. The data taken from Coldplay album cover. The aims of this study is to describe semiotic elements and to describe the meaning intended in the album cover. The data analysis described in qualitative using semiotic theory from <em>Peirce</em> icon, index, and symbol. Then, to represent the meaning and the ideas used theory ideology from <em>Dijk. </em>The results shows that theory of semiotic succeed to describe the meaning intended in album cover. The visual and verbal elements have functions to persuade the people to buy Coldplay album A Head Full of Dreams.</p>
22
Amenorvi, Cosmas Rai. "Confrontation in ‘Confrontation’: A Multimodal Analysis of Bob Marley’s Lyrics." Journal of English Language Teaching and Linguistics 4, no. 3 (2019): 337. http://dx.doi.org/10.21462/jeltl.v4i3.325.
Full textAbstract:
<p>This study investigates multimodally the theme of confrontation in Bob Marley’s posthumous <em>Confrontation</em> album. Specifically, the study analyses how the theme of confrontation is conveyed by the artwork of the album cover design. Besides, the study shows linguistically, literarily and by any other aesthetic ways how the theme of confrontation runs through the album. Findings reveal that the artwork of the album cover design speaks volumes without words and is embedded with conscious sophistication in projecting the theme of confrontation. Linguistically, Marley employs deliberate and conscious fiery lexical items inherently confrontational in projecting the theme of confrontation. Literarily, repetition, allusion, pleonasm and metaphors among others play the key role of confrontation in the <em>Confrontation </em>album. Finally, the name of the album, the name of each song and their numerical placement reveal the other aesthetic ways that the theme of confrontation is projected in Marley’s Confrontation, making the album not just a lyrical genius but a discourse masterpiece.</p>
23
Christoph, Kunz, Sturm Dominic J, Sökefeld Markus, and Gerhards Roland. "Weed suppression and early sugar beet development under different cover crop mulches." Plant Protection Science 53, No. 3 (2017): 187–93. http://dx.doi.org/10.17221/109/2016-pps.
Full textAbstract:
Field experiments were conducted at two locations in 2014–2015 and 2015–2016 to investigate the weed suppressive ability of cover crop mulches in sugar beets. Three cover crops and two cover crop mixtures were tested in all four experiments. Weed densities ranged from 2 up to 210 plants/m<sup>2</sup> in Chenopodium album L. and Stellaria media (L.) Vill. as predominant species. Sinapis alba grew significantly faster than Vicia sativa, Raphanus sativus var. niger, and both cover crop mixtures. Sinapis alba, Vicia sativa, Raphanus sativus var. niger reduced weed density by 57, 22, and 15% across all locations, respectively. A mixture of seven different cover crops reduced weed emergence by 64% compared to the control plot without cover crop mulch. Early sugar beet growth was enhanced by all mulch treatments in 2015 and decelerated in 2016.
24
Lapeña, José Florencio. "Open Access: DOAJ and Plan S, Digitization and Disruption." Philippine Journal of Otolaryngology Head and Neck Surgery 34, no. 2 (2019): 4–6. http://dx.doi.org/10.32412/pjohns.v34i2.1111.
Full textAbstract:
“Those with access to these resources — students, librarians, scientists — 
 you have been given a privilege. You get to feed at this banquet of knowledge 
 while the rest of the world is locked out. But you need not — indeed, morally, 
 you cannot — keep this privilege for yourselves. You have a duty to share it 
 with the world.”
 - Aaron Swartz1 (who killed himself at the age of 26,
 facing a felony conviction and prison sentence
 for downloading millions of academic journal articles)
 
 The Philippine Journal of Otolaryngology Head and Neck Surgery was accepted into the Directory of Open Access Journals (DOAJ) on October 9, 2019. The DOAJ is “a community-curated online directory that indexes and provides access to high quality, open access, peer-reviewed journals”2 and is often cited as a source of quality open access journals in research and scholarly publishing circles that has been considered a sort of “whitelist” as opposed to the now-defunct Beall’s (black) Lists.3
 As of this writing, the DOAJ includes 13,912 journals with 10,983 searchable at article level, from 130 countries with a total of 4,410,788 articles.2 Our article metadata is automatically supplied to, and all our articles are searchable on DOAJ. Because it is OpenURL compliant, once an article is on DOAJ, it is automatically harvestable. This is important for increasing the visibility of our journal, as there are more than 900,000 page views and 300,000 unique visitors a month to DOAJ from all over the world.2 Moreover, many aggregators, databases, libraries, publishers and search portals (e.g. Scopus, Serial Solutions and EBSCO) collect DOAJ free metadata and include it in their products. The DOAJ is also Open Archives Initiative (OAI) compliant, and once an article is in DOAJ, it is automatically linkable.4 
 Being indexed in DOAJ affirms that we are a legitimate open access journal, and enhances our compliance with Plan S.5 The Plan S initiative for Open Access publishing launched in September 2018 requires that from 2021, “all scholarly publications on the results from research funded by public or private grants provided by national, regional, and international research councils and funding bodies, must be published in Open Access Journals, on Open Access Platforms, or made immediately available through Open Access Repositories without embargo.”5 Such open access journals must be listed in DOAJ and identified as Plan S compliant.
 There are mixed reactions to Plan S. A recent editorial observes that subscription and hybrid journals (including such major highly-reputable journals as the New England Journal of Medicine, JAMA, Science and Nature) will be excluded,6 quoting the COAlition S argument that “there is no valid reason to maintain any kind of subscription-based business model for scientific publishing in the digital world.”5 As Gee and Talley put it, “will the rise of open access journals spell the end of the subscription model?”6
 If full open access will be unsustainable for such a leading hybrid medical journal as the Medical Journal of Australia,6 what will happen to the many smaller, low- and middle-income country (southern) journals that cannot sustain a fully open-access model? For instance, challenges facing Philippine journals have been previously described.7 
 According to Tecson-Mendoza, “these challenges relate to (1) the proliferation of journals and related problems, such as competition for papers and sub-par journals; (2) journal funding and operation; (3) getting listed or accredited in major citation databases; (4) competition for papers; (5) reaching a wider and bigger readership and paper contribution from outside the country; and (6) meeting international standards for academic journal publications.”7 Her 2015 study listed 777 Philippine scholarly journals, of which eight were listed in both the (then) Thomson Reuters (TR) and Scopus master lists, while an additional eight were listed in TR alone and a further twelve were listed in Scopus alone.7 To date, there are 11,207 confirmed Philippine periodicals listed on the International Standard Serial Number (ISSN) Portal,8 but these include non-scientific and non-scholarly publications like magazines, newsletters, song hits, and annual reports. What does the future have in store for small scientific publications from the global south?
 I previously shared my insights from the Asia Pacific Association of Medical Journal Editors (APAME) 2019 Convention (http://apame2019.whocc.org.cn) on the World Association of Medical Editors (WAME) Newsletter, a private Listserve for WAME members only.9 These reflections on transformation pressures journals are experiencing were the subject of long and meaningful conversations with the editor of the Philippine Journal of Pathology, Dr. Amado Tandoc III during the APAME 2019 Convention in Xi’an China from September 3-5, 2019. Here are three main points:
 
 the real need for and possibility of joining forces- for instance, the Journal of the ASEAN Federation of Endocrinology Societies (JAFES) currently based in the Philippines has fully absorbed previous national endocrinology journals of Malaysia and the Philippines, which have ceased to exist. While this merger has resulted in a much stronger regional journal, it would be worthwhile to consider featuring the logos and linking the archives of the discontinued journals on the JAFES website. Should the Philippine Journal of Otolaryngology Head and Neck Surgery consider exploring a similar model for the ASEAN Otorhinolaryngological – Head and Neck Federation? Or should individual specialty journals in the Philippines merge under a unified Philippine Medical Association Journal or the National Health Science Journal Acta Medica Philippina? Such mergers would dramatically increase the pool of authors, reviewers and editors and provide a sufficient number of higher-quality articles to publish monthly (or even fortnightly) and ensure indexing in MEDLINE (PubMed).
 the migration from cover-to-cover traditional journals (contents, editorial, sections, etc.) to publishing platforms (e.g. should learned Philippine societies and institutions consider establishing a single platform instead of trying to sustain their individual journals)? Although many scholarly Philippine journals have a long and respectable history, a majority were established after 2000,7 possibly reflecting compliance with requirements of the Commission on Higher Education (CHED) for increased research publications. Many universities, constituent colleges, hospitals, and even academic and clinical departments strove to start their own journals. The resulting journal population explosion could hardly be sustained by the same pool of contributors and reviewers.
 
 In our field for example, faculty members of departments of otorhinolaryngology who submitted papers to their departmental journals were unaware that simultaneously submitting these manuscripts to their hospital and/or university journals was a form of misconduct. Moreover, they were not happy when our specialty journal refused to publish their papers as this would constitute duplicate publication. The problem stemmed from their being required to submit papers for publication in department, hospital and/or university journals instead of crediting their submissions to our pre-existing specialty journal. This escalated the tension on all sides, to the detriment of the new journals (some department journals ceased publication after one or two issues) and authors (whose articles in these defunct journals are effectively lost).
 The older specialty journals are also suffering from the increased number of players with many failing to publish their usual number of issues or to publish them on time. But how many (if any at all) of these journals (especially specialty journals) would agree to yield to a merger with others (necessitating the end of their individual journal)? Would a common platform (rather than a common journal) provide a solution?
 
 more radically, the individual journal as we know it today (including the big northern journals) will cease to exist- as individual OA articles (including preprints) and open (including post-publication) review become freely available and accessible to all. However proud editors may be of the journals they design and develop from cover to cover, with all the special sections and touches that make their “babies” unique, readers access and download individual articles rather than entire journals. A similar fate befell the music industry a decade ago. From the heyday of vinyl (33 and 78 rpm long-playing albums and 45 rpm singles) and 8-tracks, to cassettes, then compact disks (CD’s) and videos, the US recorded music industry was down 63% in 2009 from its peak in the late 70’s, and down 45% from where it was in 1973.10 In 2011, DeGusta observed that “somewhat unsurprisingly, the recording industry makes almost all their money from full-length albums” but “equally unsurprising, no one is buying full albums anymore,” concluding that “digital really does appear to have brought about the era of the single.10 As McDowell opines, “In the end, the digital transforms not only the ability to disrupt standard publishing practices but instead it has already disrupted and continues to break these practices open for consideration and transformation.”11
 
 Where to then, scientific journals? Without endorsing either, will Sci-Hub (https://sci-hub.se) be to scholarly publishing what Spotify (https://www.spotify.com) is to the music industry? A sobering thought that behooves action.
25
Khoury, Melissa Plourde. "Parody and Contextualization in Lebanese Album Covers." Design Issues 35, no. 2 (2019): 60–80. http://dx.doi.org/10.1162/desi_a_00535.
Full textAbstract:
This article is a textual analysis initiating the examination of twelve album covers in relation to Lebanon. The covers are examined through the trans-contextualization of diverse and eclectic fusions. Such covers create complex narratives echoing band identities while, parody enabled continuum, yet critique detachment. Though the album covers form a commentary related to histories, they do not merely retell histories. Rather, the use of trans-contextualization gives various aspects of designed concepts added layers of meaning in contemporary contexts. The covers create new and autonomous forms through parody relevant to Lebanon and the region. They also provide methodologies for future designers.
26
Roland, Gerhards, Bezhin Kostyantyn, and Santel Hans-Joachim. "Sugar beet yield loss predicted by relative weed cover, weed biomass and weed density." Plant Protection Science 53, No. 2 (2017): 118–25. http://dx.doi.org/10.17221/57/2016-pps.
Full textAbstract:
Sugar beet yield loss was predicted from early observations of weed density, relative weed cover, and weed biomass using non-linear regression models. Six field experiments were conducted in Germany and in the Russian Federation in 2012, 2013 and 2014. Average weed densities varied from 20 to 131 with typical weed species compositions for sugar beet fields at both locations. Sugar beet yielded higher in Germany and relative yield losses were lower than in Russia. Data of weed density, relative weed cover, weed biomass and relative yield loss fitted well to the non-linear regression models. Competitive weed species such as Chenopodium album and Amaranthus retroflexus caused more than 80% yield loss. Relative weed cover regression models provided more accurate predictions of sugar beet yield losses than weed biomass and weed density.
27
DE REZENDE, ADAUTON VILELA, FLÁVIO HENRIQUE SILVEIRA RABÊLO, HUGO ABELARDO GONZÁLEZ VILLALBA, et al. "ORGANIC MATTER PRODUCTION AND CHEMICAL COMPOSITION OF COVER CROPS FERTILIZED WITH NPK." Experimental Agriculture 53, no. 2 (2016): 242–54. http://dx.doi.org/10.1017/s001447971600034x.
Full textAbstract:
SUMMARYThe crop rotation is a practice to protect and improve the soil properties and an alternative to improve the quality of crop residues is the application of fertilizers at the planting of cover crops. Thus, we evaluated the effect of fertilization with nitrogen, phosphorus and potassium (NPK) on organic matter production and chemical composition of cover crops succeeding the corn crop. The treatments consisted of the cultivation of Avena sativa L., Lupinus albus L., Pennisetum glaucum L., Raphanus sativus L. and Sorghum bicolor L. with (200 kg ha−1 of NPK [08-28-16] applied by broadcast seeding) and without fertilization at planting. Organic matter production by all cover crops, as well as concentrations of neutral detergent fibre (NDF) in shoots and roots of A. sativa L. and R. sativus L. were higher when they were fertilized. L. albus L. showed higher NDF and acid detergent fibre (ADF) contents than the other cover crops, with and without fertilization. Nitrogen concentration increased, but the carbon/nitrogen ratio (C/N) in the shoots of L. albus L., R. sativus L. and S. bicolor L. decreased when fertilization was applied. The use of N by the A. sativa L. and P. glaucum L. and of P and K by S. bicolor L. was 16, 54, 82 and 20% more efficient, respectively, when fertilization was applied. The A. sativa L., P. glaucum L. and R. sativus L. showed higher NDF/N, ADF/N and hemicellulose/N ratios in the fertilized treatment. Although the results obtained in this study are highly satisfactory, more research should be conducted to evaluate the decomposition of crop residues from cover crops fertilized with NPK, and the effects of this strategy on corn crops in succession.
28
Prihatno, Setyahadi. "PENGARUH THEOSOFI DAN FREEMASON DI INDONESIA (Kajian Analitis Simbol-simbol Theosofi dan Freemason dalam Lirik Lagu dan Sampul Kaset Album Grup Musik Dewa 19)." Profetika: Jurnal Studi Islam 17, no. 01 (2016): 23. http://dx.doi.org/10.23917/profetika.v17i01.2098.
Full textAbstract:
The lyrics and album cover of Dewa 19 wave of criticism with many symbols or emblemsthat allegedly represent the ancient mystical beliefs and visually turns almost identicalto the symbols on the Thesofi anf Freemason. It lead to the possibility of meaning similarity.Four main points discussed in this study is about the meaning of the lyrics of the album’ssongs of Dewa 19 band, regarding the visual appearance and meaning of symbols in the coverof the album of Dewa 19, reviewing the structure of the relationship between the lyrics and thesymbols in the album of Dewa 19 with Theosofi and Freemason, as well as explain the impactof visualization and dissemination of these symbols in a album of Dewa 19 cassette. Dewa 19has consistently display the lyrics of songs and symbols of Theosofi and Freemasonry teachingsstarted from his first album. Symbols are cleverly laid out in various ways and can onlybe seen with certain ways. The pattern of symbols has a characteristic appearance as well asits own theme. The structure of relations that are drawn in this study relates to the profile ofAhmad Dhani, Theosofi and Freemason teachings, text and lyrics, as well as a visual displayof Theosofi and Freemasons symbols in Dewa 19 album. Display representations of symbolscontained in the album cover of Dewa 19 concluded have relevance in form and meaning tothe symbols of the teachings or understood Occult, Paganism, Kaballah and Theosofi, as wellas movements such as secret Zionist, Illuminati and Freemasonry.Keywords: symbol; theosofi; freemason.Abstrak: Lirik dan sampul album Dewa 19 menuai banyak kritik dengan banyaknya simbolatau lambang yang diduga merepresentasikan kepercayaan mistik kuno dan secara visualternyata nyaris identik dengan simbol-simbol pada Theosofi dan Freemason.Hal tersebutmengarahkan pada adanya kemungkinan kesamaan makna. Empat hal utama yang dibahasdalam penelitian ini adalah mengenai makna dari lirik lagu album grup musik Dewa 19, mengenaitampilan visual dan makna simbol dalam sampul album Dewa 19, mengkaji strukturrelasi antara lirik lagu dan simbol dalam album Dewa 19 dengan Theosofi dan Freemason,serta menjelaskan dampak dari visualisasi dan penyebaran simbol-simbol tersebut dalam kasetalbum Dewa 19. Dewa 19 secara konsisten telah menampilkan lirik lagu dan simbol-simbolajaran Theosofi dan Freemason dari mulai album pertamanya. Simbol secara cerdik diletakkandengan berbagai cara dan hanya bisa dilihat dengan cara-cara tertentu. Pola pemunculan simbolmemiliki ciri serta tema tersendiri. Struktur relasi yang ditarik dalam penelitian ini berkaitandengan profil Ahmad Dhani, ajaran Theosofi dan Freemason, teks dan lirik lagu, sertatampilan visual simbol-simbol Theosofi dan Freemason dalam album Dewa 19. Representasitampilan simbol yang terdapat dalam sampul album Dewa 19 disimpulkan memiliki keterkaitansecara bentuk dan makna dengan simbol-simbol dari ajaran atau paham Okultisme,Paganisme, Kaballah serta Theosofi, serta pergerakan-pergerakan rahasia Zionisme Yahudi seperti, Illuminati dan Freemasonry.Kata kunci: symbol; theosofi; freemason.
29
Stránská, M. "Successional dynamics of Cynosurus pasture after abandonment in Podkrkonoší." Plant, Soil and Environment 50, No. 8 (2011): 364–70. http://dx.doi.org/10.17221/4045-pse.
Full textAbstract:
Between 1996&ndash;2002, successional dynamics on an abandoned pasture in Předn&iacute; Žd&iacute;rnice (lat. 50&deg;32&rsquo;N, long. 15&deg;40&rsquo;E) was examined. A 7-year study was performed on the abandoned mesotrophic pasture classified as Cynosurion T&uuml;xen 1947 at the start of the study. Two permanent plots (100 m<sup>2</sup>) were established and sampled three times a year; changes in plant species composition (species cover) and plant species diversity (species number) were studied. Species assemblages of the Cynosurus pasture were described, E1 (herb layer) and E2 (shrub layer) covers were calculated and a secondary succession in the plant community was evaluated. Abandonment caused the decrease in the cover of the species sensitive to shading &ndash; e.g. Taraxacum sect. Ruderalia, Trifolium repens, Lathyrus pratensis, Plantago major, Stellaria graminea, Vicia cracca. Contrary to this, the cover of Calamagrostis epigejos, Rubus sp., Galium album, Galium verum, Knautia arvensis, Veronica chamaedrys increased, probably due to their ability to spread by clonal growth and as a&nbsp;result of the competitive relationships in the plant community. A big production of Calamagrostis epigejos litter may be the outcome of a significant decrease (by 9%) in E1 cover (P = 0.04). Although the grassland was invaded by ruderal and weedy species (Apera spica-venti, Myosotis arvensis, Veronica arvensis) and by shrubs Crataegus sp. and Rosa sp. (an&nbsp;increase by 16%), an increase in species number was not significant. Phytosociologically, the Cynosurion T&uuml;xen 1947 community came closer to the Arrhenatherion Koch 1926 alliance.
30
Yu., Petrovska. "ARTISTIC AND PEDAGOGICAL ACTIVITIES OF TEODOR TALIOVSKYI IN LVIV SCHOOL OF ARCHITECTURE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (2020): 141–46. http://dx.doi.org/10.23939/sa2020.02.141.
Full textAbstract:
The research covers the creative and pedagogic activity of Teodor Taliovskyi, the professor of Lviv Polytechnic Institute of the end of the 19th century — early 20th century. The paper describes the architectural, artistic, pedagogic, academic and administrative activity of the prominent artist, examines archive materials of the Polytechnic School of that period which cover academic disciplines taught by the professor. The author also performs a review of the album of draft drawings of projects of churches designed by Teodor Taliovskyi. This year we commemorate the 110th death anniversary of Teodor Taliovskyi, the famous architect, painter, professor of the Department of Drawing and Modelling of Lviv School of Architecture, author of a number of famous architectural buildings of Lviv, Krakow, and other cities. It is important to repeatedly reconfirm the essential contribution of the professor into the development of Lviv Polytechnic School. The research also highlights his pedagogic and scientific-and-administrative activity in the educational institution.
31
Willoughby, Heather A. "Under the covers: Image and imagination in Korean popular music albums." Asian Journal of Women's Studies 21, no. 4 (2015): 345–62. http://dx.doi.org/10.1080/12259276.2015.1106860.
Full text
32
Morgan, Penelope, and Leon F. Neuenschwander. "Shrub Response to High and Low Severity Burns Following Clearcutting in Northern Idaho." Western Journal of Applied Forestry 3, no. 1 (1988): 5–9. http://dx.doi.org/10.1093/wjaf/3.1.5.
Full textAbstract:
Abstract Early seral shrub community development following clearcutting is documented for fall broadcast burns aged 0-5 and 15 years on a western redcedar (Thuja plicata)/beadlilly (Clintonia uniflora) habitat type. Shrub cover was dominated by redstem ceanothus (Ceanothus sanguineus), blackberry (Rubus ursinus), thimbleberry (R. parviflorus), common snowberry (Symphoricarpos albus), and 8 other shrub species. Frequency of occurrence differed significantly (P < 0.05) with burn severity (6 of 12 species), but not with burn age (10 of 12 species) up to 15 years after fire. Percent canopy cover of seedlings and sprouts, summed over species, differed with burn severity on burns less than 4 years old. There was greater total cover of rhizomatous shrub sprouts (P < 0.01) on low severity burns. Cover of shrub seedlings was significantly less (P = 0.03) on low severity than on high severity burns. However, there was no difference (P = 0.60) in cover of nonrhizomatous sprouts on high and low severity burns. West. J. Appl. For. 3(1):5-9, January 1988.
33
Alvsing, P. E., and A. Moller. "Swedish appeal court rules on reproduction of album cover artwork." Journal of Intellectual Property Law & Practice 4, no. 6 (2009): 401–2. http://dx.doi.org/10.1093/jiplp/jpp051.
Full text
34
Flam, Gila. "Goodbye, My Friend - Shalom Chaver. CDI & NMC Music, Ltd., Israel. Distributed by NMC Marketing, 1995. NIS 55.00 METRIX 20197-2." Middle East Studies Association Bulletin 31, no. 1 (1997): 42–43. http://dx.doi.org/10.1017/s0026318400034878.
Full textAbstract:
A double CD album characterized as “a charity compilation of love and peace songs by Israel’s top artists in memory of Yitzhak Rabin,” has been issued by NMC Music Ltd., 1995. The title on the cover is taken from the eulogy of President Bill Clinton: Shalom Chaver [Goodbye, My Friend]. It appears with two doves in green and blue symbolizing peace. On the back cover there is a picture of Yitzhak Rabin next to the flag of Israel and a list of the songs. Next to their titles in Hebrew, the names of the singers appear in Hebrew and English. There are 17 numbers on each CD.
35
Upton, Rob. "The cover-version spectrum: Reframing the relationship between imitation and transformation in pop-punk cover-versions." Punk & Post-Punk 00, no. 00 (2021): 1–30. http://dx.doi.org/10.1386/punk_00110_1.
Full textAbstract:
‘Covering’ previously recorded tracks is a central aspect of popular music. Despite an abundance of examples, discourse related to cover-version tracks is limited and includes questionable application of dichotomizing terminology (‘cover’, ‘version’) that can cause problems for interpreting the cover-version genre and diminish the nuanced approaches taken by artists who produce cover-versions. Examining recordings from the Punk Goes… album series reveals many examples that go beyond the either–or cover/version dichotomy generally presented in musicology. As such, this article has three main aims: to investigate the ways in which Punk Goes… tracks innovatively move between the poles of cover and version, thus requiring a new analytical framework; to explore the connection between imitation and transformation to the ascription of cover and version; and to move beyond prior musicological scholarship that emphasizes formal elements and composer intention. This article presents a reclassification of the terms ‘cover’ and ‘version’ as extreme poles of a ‘cover-version spectrum’ dependent on the listener’s interpretation of the performative character. Analyses challenge assumptions that equate musical phrases with fixed musical meanings, suggesting instead that the interpreted manner of performance is more significant than syntactical concerns. This provides a structure for clearer examination of cover-versions and supports the view that semiotic methods are a vital tool in the analysis of recorded popular music.
36
Grimmer, Orion P., and John B. Masiunas. "Evaluation of Winter-killed Cover Crops Preceding Snap Pea." HortTechnology 14, no. 3 (2004): 349–55. http://dx.doi.org/10.21273/horttech.14.3.0349.
Full textAbstract:
Winter-killed cover crops may protect the soil surface from erosion and reduce herbicide use in an early planted crop such as pea (Pisum sativum). Our objective was to determine the potential of winter-killed cover crops in a snap pea production system. White mustard (Brassica hirta) produced the most residue in the fall but retained only 37% of that residue into the spring. Barley (Hordeum vulgare) and oats (Avena sativa) produced less fall residue but had more residue and ground cover in the spring. Greater ground cover in the spring facilitated higher soil moisture, contributing to higher weed numbers and weight and lower pea yields for oat and barley compared with a bare ground treatment. White mustard had weed populations and pea yields similar to the bare ground treatment. Within the weed-free subplot, no differences in pea yields existed among cover crop treatments, indicating no direct interference with pea growth by the residues. In greenhouse experiments, field-grown oat and barley residue suppressed greater than 50% of the germination of common lambsquarters (Chenopodium album) and shepherd's-purse (Capsella bursapastoris), while in the field none of the cover crop provided better weed control than the fallow.
37
Bousselot, Jennifer M., James E. Klett, and Ronda D. Koski. "Evaluating a Natural Zeolite as an Amendment for Extensive Green Roof Substrate." Journal of Environmental Horticulture 30, no. 4 (2012): 201–6. http://dx.doi.org/10.24266/0738-2898.30.4.201.
Full textAbstract:
This research examined soilless green roof substrate blends on an existing modular extensive green roof in Denver, Colorado, USA. Substrate blends evaluated include an extensive green roof substrate, Green Grid® and Green Grid® plus varying percentages of ZeoPro™ H-Plus. Plant taxa used included Sedum acre L., Sedum album L., Sedum spurium Marsch-Bieb. ‘Dragon's Blood’ and S. spurium ‘John Creech’. Substrate blends were evaluated based on plant taxa growth performance. Data collected included digital images to measure plant area covered using digital image analysis (DIA) and substrate volumetric moisture content (VMC). All data were analyzed over two growing seasons using the GLIMMIX procedure in SAS as multiple comparisons of substrate blends for each taxa, DIA data were analyzed from eight dates and VMC data were analysed from seven dates. The addition of zeolite (ZeoPro™) to the typical extensive green roof substrate improved establishment year plant cover for S. acre and S. album but hindered overwintering. Conversely, the two cultivars of S. spurium did not show a benefit of plant cover from the addition of ZeoPro™ in the first year but did the second year. As the percentage of ZeoPro™ in the substrate increased, VMC also increased.
38
Alleyne, Mike. "After the Storm: Hipgnosis, Storm Thorgerson, and the Rock Album Cover." Rock Music Studies 1, no. 3 (2014): 251–67. http://dx.doi.org/10.1080/19401159.2014.949553.
Full text
39
Rojas, Jaime Aguilar, Amalesh Dhar, and M. Anne Naeth. "Urban Naturalization for Green Spaces Using Soil Tillage, Herbicide Application, Compost Amendment and Native Vegetation." Land 10, no. 8 (2021): 854. http://dx.doi.org/10.3390/land10080854.
Full textAbstract:
Naturalization is a new and promising ecological approach to green space development for urban environments, although knowledge is sparse on techniques to implement it. We evaluated naturalization of eight native trees and shrubs, with site preparation (tillage, herbicide) and soil amendment (compost rates) treatment combinations at six sites in the city of Edmonton, Alberta, Canada. Soil texture improved with all compost rates, and acidity, electrical conductivity and total carbon increased, especially with 100% compost. Soil nutrients generally increased with compost then declined within a year. Plant species with highest potential for use in urban green spaces were Picea glauca, Symphoricarpos albus and Rosa acicularis. Herbicide was the most influential site preparation treatment, positively increasing survival and growth of planted woody species, while negatively lowering non-native species cover and increasing noxious weed cover. Soil amendment with compost influenced cover not species richness, with high compost amendment reducing vegetation cover across sites, and increasing individual plant size. This study suggests amendment of soil with compost and appropriate site preparation can positively influence naturalization of these woody species for urban green spaces.
40
Franchini, Júlio C., Marcos A. Pavan, and Mário Miyazawa. "Redistribution of phosphorus in soil through cover crop roots." Brazilian Archives of Biology and Technology 47, no. 3 (2004): 381–86. http://dx.doi.org/10.1590/s1516-89132004000300007.
Full textAbstract:
The objective of this study was to evaluate if cover crops can absorb P from the upper layers and transport it in their roots to subsoil layers. Samples of an Oxisol were placed in PVC columns. Super phosphate fertilizer was applied to the 0-10 cm soil surface layers. The cover crops tested were: Avena strigosa, Avena sativa, Secale cereale, Pisum sativum subsp arvense, Pisum sativum, Vicia villosa, Vicia sativa, Lupinus angustifoliu, Lupinus albus, and Triticum aestivum. After a growth period of 80 days the cover crop shoots were cut off and the soil was divided into 10cm layers and the roots of each layer were washed out. The roots and shoots were analyzed separated for total P contribution to the soil. Considerable amount of P was present in the roots of cover crops. Vicia sativa contained more than 60% of total plant P in the roots. The contribution of Vicia sativa to soil P bellow the fertilized zone was about 7 kg ha-1. It thus appeared that there existed a possibility of P redistribution into the soil under no tillage by using cover crops in rotation with cash crops. Vicia sativa was the most efficient cover crop species as P carrier into the roots from superficial layer to lower layers.
41
Ruark, S. J., and B. B. Shew. "Evaluation of Microbial, Botanical, and Organic Treatments for Control of Peanut Seedling Diseases." Plant Disease 94, no. 4 (2010): 445–54. http://dx.doi.org/10.1094/pdis-94-4-0445.
Full textAbstract:
Diseases affecting stand establishment are a major obstacle to organic production of peanut (Arachis hypogaea). Stand losses of 50% or more are possible with untreated seed. Biological, botanical, and organic seed treatments or soil amendments were tested for efficacy against pre- and postemergence damping-off of peanut in greenhouse, microplot, and field plot trials. Seed of the lines Perry, GP-NC 343, and Bailey (tested as N03081T) were used in all trials. Commercial formulations of Bacillus subtilis (Kodiak), B. pumilus (Yield Shield), Trichoderma harzianum (T-22 PB and Plantshield HC), Muscodor albus, and Coniothyrium minitans (Contans); activated charcoal; two separate soil amendments of dried herbage of Monarda didyma cultivars; a commercial fungicide control (Vitavax PC); and an untreated control were tested in natural soil in the greenhouse. Vitavax PC and Kodiak were the only treatments that resulted in higher percent emergence and survival than in untreated seed. A separate greenhouse experiment was conducted in natural soil or natural soil infested with field isolates of Aspergillus niger. Seed were treated with Kodiak, copper hydroxide (Champion), Plantshield HC, Kodiak + Plantshield HC, Streptomyces griseoviridis (Mycostop), hot water, Vitavax PC, or were left untreated. Seedling emergence and survival was much lower in infested versus uninfested soil. Seed treatment with Kodiak increased percent emergence and survival compared to untreated seed, but was not as effective as Vitavax PC. Field microplot studies in 2007 and 2008 at Clayton, NC, evaluated four seed treatments on the peanut lines following small grain cover crops, soil amendment with M. albus, or no cover. Cover crops did not affect emergence or interact with seed treatments. In field studies in 2007 and 2008 at Lewiston, NC, the peanut lines were planted with M. albus infurrow, with Kodiak or T. harzianum seed treatments, or were untreated. In the 2007 trial, none of the treatments improved stands compared to the untreated check. In 2008, the highest stand counts were produced by seed treated with Kodiak. In both years, Bailey produced the greatest stand counts. A. niger was strongly associated with postemergence damping-off in the field. Regardless of peanut line, in many trials, Kodiak seed treatment increased emergence and survival over untreated seed.
42
Teasdale, John R., Steven B. Mirsky, and Michel A. Cavigelli. "Weed species and traits associated with organic grain crop rotations in the mid-Atlantic region." Weed Science 67, no. 05 (2019): 595–604. http://dx.doi.org/10.1017/wsc.2019.38.
Full textAbstract:
AbstractOrganic cropping systems are characterized by soil-disturbance events that can be diversified over years through crop rotations and within seasons by varying planting dates. The Farming Systems Project at Beltsville, MD, USA, is a long-term experiment that includes three organic rotations, corn (Zea mays L.)–soybean [Glycine max (L.) Merr.], corn–soybean–wheat (Triticum aestivum L.), and corn–soybean–wheat–alfalfa (Medicago sativa L.). Analysis of weed presence and cover over the first 18 yr of this experiment revealed that the tall, erect annual broadleaf weeds smooth pigweed (Amaranthus hybridus L.), common lambsquarters (Chenopodium album L.), horseweed (Erigeron canadensis L.), jimsonweed (Datura stramonium L.), and/or velvetleaf (Abutilon theophrasti Medik.) were most prominent in corn and soybean. Generally, these species exhibited traits adapted to the disturbance regimes, nutrient availability, crop environment and duration, and local meteorological conditions associated with the summer annual corn and soybean crops. Abundance of A. hybridus, D. stramonium, and A. theophrasti were controlled primarily by rotation diversity, whereby presence and cover of these species were highest in the short corn–soybean rotation and lowest in the longer rotations that had more diverse seasonal soil-disturbance regimes. Early-season temperature was the primary factor controlling C. album presence and cover, which were higher at lower temperatures associated with earlier planting dates. Higher early-season precipitation was the primary factor associated with higher presence of annual grass species. The relative abundance of species in organic corn and soybean was determined primarily by the diversity of crops and disturbance operations in rotation, the timing of spring tillage and planting, and annual meteorological conditions driving emergence periodicity.
43
Nyzkovska, Olena. "Current issues of standardization of requirements for the development and issuing of printed teaching aids." Problems of Education, no. 1(94) (July 9, 2021): 83–113. http://dx.doi.org/10.52256/2710-3986.1-94.2021.06.
Full textAbstract:
Reforming the national education system, implementation of the Concept of State Educational Policy "New Ukrainian School" put forward the task to create a developmental educational space that will suitable for the formation and growth of a personality. The developmental content environment is one of the key components of an innovative educational space. It is created through the development and implementation of state-of-the-art learning tools and equipment, in particular printed auxiliary facilities of studies. Such as students’ albums and drawing-books, sets of paper and cardboard are a material basis for the tasks of the curriculum for drawing, drafting, appliqués, art work, etc. There are no modern standard approaches to their creation. Therefore, there is a need to identify technical and pedagogical requirements for these learning tools and further to consolidate them in the national standard of Ukraine.
 The study of educational products samples, the directions of scientific search were determined on the basis of the analysis of specialized scientific and methodological literature, normative documents of national standardization and in the field of education. As a result, the types of student albums and drawing-books, paper and cardboard sets that will become the subject of standardization are outlined. They are defined at the level of terms and definitions. Regulatory dimensions and volumes for each of these types of facilities were specified. Characteristics of the first and foremost technical and pedagogical requirements to them were produced, namely: quality of the materials for making albums, drawings-books, sets according to the educational purpose of products, standards of color standardization, design and configuration products, ways to fasten sheets in blocks, requirements for the artistic and textual design of covers and folders. The results, which were obtained, will form the basis for further applied research of the development and approval of the national standard of Ukraine – “Facilities of studies. Student's albums and drawing books. Student's sets of paper and cardboard. General specifications”. The practical significance of this regulatory document will also be a determination of the mandatory requirements for the labeling, packaging, storage, transportation of ready products, as well as the requirements of safety, environmental protection at the enterprises of the printing industry.
44
Clarke, Eric F., and Nicola Dibben. "Sex, Pulp and critique." Popular Music 19, no. 2 (2000): 231–41. http://dx.doi.org/10.1017/s0261143000000131.
Full textAbstract:
In an article entitled ‘Sexist Pulp ads attacked’, the Independent on Sunday (IoS) reported public reaction to the posters advertising Pulp's new album This is Hardcore (posters had been defaced with the words ‘this is sexist’), and described the advertisements as part of a turn away from political correctness towards a new ‘anything goes’ realism (Kelly and Clay 1998). The poster shows the naked upper torso of a woman face down on a red leather cushion, in an awkward and ambivalent posture, with lipsticked, half-open mouth. Emblazoned across the centre of the image (which is a reproduction of the album cover) are the words ‘This is Hardcore’ in pink capitals. A leader in the paper on the same day, under the heading ‘This is violent. This is offensive’, interprets the image as a demeaning, sexist and violent representation of women and as an offence to the record-buying public. The leader asserts that ‘Just to sell a few songs, it shows a woman violated’, and concludes with the words: ‘To ban it [the poster] now would only generate more publicity for Pulp. So the only advice we have is for anyone thinking of buying the album. Don't bother.’ (IoS Leader, 1998, p. 4)
45
Putra, I. Putu Lukita Wiweka Nugraha. "Kearifan Lokal Musikal dalam Lagu-lagu Album Bali Kumara." Journal of Music Science, Technology, and Industry 1, no. 1 (2018): 99. http://dx.doi.org/10.31091/jomsti.v1i1.506.
Full textAbstract:
ABSTRAKTopik dari artikel ini adalah kearifan lokal pada lagu-lagu album Bali Kumara I. Tujuan dari penulisan artikel ini adalah untuk mendeskripsikan kearifan lokal pada lagu-lagu album Bali Kumara. Metode yang digunakan dalam studi ini adalah deskriptif kualitatif. I Komang Darmayuda selaku komposer lagu-lagu album Bali Kumara merupakan informan dalam penelitian ini. Data berupa rekaman audio lagu-lagu album Bali Kumara. Kearifan lokal dalam lagu-lagu album Bali Kumara terletak pada penggunaan tangga nada/titi laras pelog dan slendro, serta penggunaan bahasa Bali singgih dan sor. Tangga nada pelog dan slendro diimplementasikan pada melodi-melodi utama, baik oleh alat musik keyboard, gamelan, maupun vokal. Pada beberapa lagu terdapat juga tangga nada lain, seperti diatonis dan kromatis, dimana tidak terlalu memudarkan warna pelog dan slendro. Jika dilihat dari sudut pandang sor singgih basa (tingkatan-tingkatan dalam bahasa Bali), sebagain besar lagu-lagu di album Bali Kumara menggunakan basa singgih, dan beberapa di antaranya menggunakan basa sor. Lagu pop Bali sebagai salah satu kesenian profan yang tumbuh dan berkembang di Bali sudah seyogyanya mengandung unsur-unsur kearifan lokal Bali. Kearifan lokal yang terkandung pada lagu-lagu album Bali Kumara dapat menjadi pijakan bagi para pelaku lagu pop Bali khususnya komposer dalam menciptakan karya-karya berikutnya, sehingga identitas lagu Pop Bali tetap terjaga.Kata kunci: musik, kearifan lokal, lagu, album Bali Kumara. ABSTRACTThe topic of this article covers local wisdom in the songs of Bali Kumara first album. The purpose of writing this article is to describe the local wisdom in the songs of the Bali Kumara first album. The method used in this study is descriptive-qualitative. I Komang Darmayuda as a composer of Bali Kumara first Album songs is an informant in this research. The data is audio recording of songs in Bali Kumara first album. The Balinese local wisdom in the songs of Bali Kumara first album lies in the use of tone named titi laras pelog and slendro, as well as the use of the Balinese language such as singgih and sor. Pelog and slendro tones are implemented in the main melodies, either by keyboard instruments, gamelan or vocals. In some songs, there are also other scales, such as diatonic and chromatic, which do not diminish the pelog and slendro colors. Seen from the point of view basa singgih (levels in the Balinese language), most of the songs in the album Bali Kumara uses basa singgih, and some basa sor. Balinese pop songs as one of the profane art that grow and develop in Bali should contain elements of the Baliense local wisdom. The local wisdom contained in the songs of Bali Kumara album can be a foothold for the performers of Balinese pop songs especially composers in creating works, so that the identity of the Balinese pop songs is maintained. Keywords: music, local genius, song, album of Bali Kumara.
46
Domenghini, Jacob C., Dale J. Bremer, Jack D. Fry, and Gregory L. Davis. "Prolonged Drought and Recovery Responses of Kentucky Bluegrass and Ornamental Groundcovers." HortScience 48, no. 9 (2013): 1209–15. http://dx.doi.org/10.21273/hortsci.48.9.1209.
Full textAbstract:
Municipalities often restrict irrigation of urban landscapes, causing plants to experience drought stress. Few data are available regarding drought resistance of non-turfgrass landscape species. This study evaluated the performance of one turfgrass (Poa pratensis L. ‘Apollo’) and eight herbaceous landscape species (Achillea millifolium L., Ajuga reptans L. ‘Bronze Beauty’, Liriope muscari Decne., Pachysandra terminalis Siebold and Zucc., Sedum album L., Thymus serpyllum L., Vinca major L., and Vinca minor L.) during a severe drydown and subsequent recovery. This greenhouse study was conducted in the spring/summer and again in the fall of 2010. S. album performed the best, averaging 254 days to decline to a drought rating of 1 (1 to 9 scale, 1 = dead/dormant and 9 = best quality). L. muscari and P. terminalis also performed well, averaging 86 days to a drought rating of 1. V. minor and V. major declined faster than the previous species, averaging 63 days. A. millifolium, A. reptans, P. pratensis, and T. serpyllum declined the fastest to a drought rating of 1 (mean 52 days). Thereafter, the only species to recover after 60 days of resuming irrigation were P. pratensis [46% pot cover (PC)], S. album (38% PC), and V. major (35% PC) in the spring/summer study; no species recovered during the fall study. Results indicate S. album, L. muscari, and P. terminalis are the most drought-resistant among the species evaluated in landscapes where severe drought may occur. V. minor and V. major are good selections in less severe droughts as is P. pratensis if periods of dormancy are acceptable.
47
Brown, Douglas. "Stir It Up! Reggae Album Cover Art200033Chris Morrow. Stir It Up! Reggae Album Cover Art. London: Thames & Hudson 1999. 120 pp, ISBN: 0 500 28154 8 £14.95." Reference Reviews 14, no. 1 (2000): 34–35. http://dx.doi.org/10.1108/rr.2000.14.1.34.33.
Full text
48
Sher, Alina Andreevna, and Rimma Aleksandrovna Timofeeva. "The works of Alex Steinweiss: design of the music album cover as a new trend in graphic design." Культура и искусство, no. 4 (April 2021): 104–15. http://dx.doi.org/10.7256/2454-0625.2021.4.35373.
Full textAbstract:
This article is discusses the works of the graphic designer Alex Steinweiss (1917 &ndash; 2011), who was involved in music industry of the United States. The author examines the causes and effects of the emergence of a new trend in graphic design, associated with the design of music album covers, as well as analyzed some of the covers invented by Steinweiss in the 1940s. A brief overview is given to the evolution of sound recording media and their packaging. The subject of this research is the art of Alex Steinweiss, while the object is the envelopes for LP vinyl records, invented by the designer during his work for the Columbia Record Label (1930s &ndash; 1940s). The relevance of this article is substantiate by the new wave of interest in vinyl records, and thus graphic design in the context of music industry, as well as by the demand to prepare specialists for working in modern music industry. The novelty lies in examination of causal link of the emergence of new trend graphic design on inventing music album covers. The conducted research indicates the influence of a number of socioeconomic factors and activity of Alex Steinweiss upon the emergence of a new trend in graphic design. The author concludes on the relevance of studying the creative path of Alex Steinweiss for the students and representatives of art professions.
49
Zhao, Chunhua, Jianhua Ju, Steven D. Christenson, et al. "Utilization of the Methoxymalonyl-Acyl Carrier Protein Biosynthesis Locus for Cloning the Oxazolomycin Biosynthetic Gene Cluster from Streptomyces albus JA3453." Journal of Bacteriology 188, no. 11 (2006): 4142–47. http://dx.doi.org/10.1128/jb.00173-06.
Full textAbstract:
ABSTRACT Oxazolomycin (OZM), a hybrid peptide-polyketide antibiotic, exhibits potent antitumor and antiviral activities. Using degenerate primers to clone genes encoding methoxymalonyl-acyl carrier protein (ACP) biosynthesis as probes, a 135-kb DNA region from Streptomyces albus JA3453 was cloned and found to cover the entire OZM biosynthetic gene cluster. The involvement of the cloned genes in OZM biosynthesis was confirmed by deletion of a 12-kb DNA fragment containing six genes for methoxymalonyl-ACP biosynthesis from the specific region of the chromosome, as well as deletion of the ozmC gene within this region, to generate OZM-nonproducing mutants.
50
Kosterna, Edyta. "The effect of soil mulching with organic mulches, on weed infestation in broccoli and tomato cultivated under polypropylene fibre, and without a cover." Journal of Plant Protection Research 54, no. 2 (2014): 188–98. http://dx.doi.org/10.2478/jppr-2014-0029.
Full textAbstract:
Abstract An investigation was done on the effect of different types of organic mulches that were applied in form of straw to the soil mulching process, on the weed infestation, number, and fresh mass of weeds in broccoli cv. Milady F1 (Brassica oleracea L. var. italica Plenck) and tomato cv. Polfast F1 (Lycopersicon esculentum Mill.) grown under polypropylene fibre as a covering, or grown without a covering. The different types of organic straw mulches were: rye (Secale cereale L.), corn (Zea mays L.), rape (Brassica napus L. subsp. napus), and buckwheat (Fagopyrum esculentum Moench.). All the organic mulches were applied at a dose of 10 t/ha. The effect of the mulches was compared to a control plot which had no mulch. The type of organic mulch applied to the soil mulching process influenced species composition, number, and fresh mass of weeds. This effect could be the result of the properties of the mulch (colour, structure, etc.) or the allelopathic effect on the germination and growth of individual weeds species. Irrespective of the investigated factors, 24 and 25 weeds species, respectively, were observed immediately after cover removal and before broccoli and tomato harvest. In the first date of estimation Chenopodium album L., Echinochloa crus-galli (L.) P. Beauv., Fallopia convolvulus (L.) Á. Löve, Stellaria media (L.) Vill., and Viola tricolor L. dominated, however, before the vegetables were harvested Ch. album, V. tricolor, Veronica arvensis L., and E. crus-galli dominated. An application of polypropylene fibre contributed to an increase in the number and fresh mass of weeds in both vegetables in the first date of estimation (after cover removal). During this period, vegetables cannot compete with weeds. It is important to note, though, that before the vegetables were harvested, a decrease was found in the number and fresh mass of weeds in the covered plots. The most efficient weed limiter, both after cover removal and also before the broccoli and tomatoes were harvested, was buckwheat and rye straw, respectively.