Relevant bibliographies by topics / Film scoring

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film scoring'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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Journal articles on the topic "Film scoring"

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Licata, Elizabeth. "Scoring Film." Afterimage 26, no. 1 (July 1998): 15. http://dx.doi.org/10.1525/aft.1998.26.1.15.

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Febrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto, and Akhmad Alimudin. "Music Scoring for Film Using Fruity Loops Studio." E3S Web of Conferences 188 (2020): 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.

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Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.
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Purwacandra, Pandan Pareanom, and Oriana Tio Parahita Nainggolan. "Sampling Suara Instrumen Musik sebagai Strategi Peningkatan Hasil Belajar Mahasiswa dalam Pembuatan Film Scoring." REKAM 15, no. 1 (September 26, 2019): 61–70. http://dx.doi.org/10.24821/rekam.v15i1.3232.

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ABSTRAKFilm scoring merupakan pembuatan musik untuk mengiringi gambar visual dalam film. Dalam pembuatan film scoring sangat dibutuhkan pengetahuan tentang musik, hal ini dikarekan film scoring memiliki tujuan untuk menciptakan emosi penonton agar dapat memahami film yang ditonton. Instrumen musik merupakan elemen musikal yang mendukung terciptanya emosi penonton. Penelitian ini memiliki tujuan meningkatkan hasil belajar mahasiswa Program Studi D-3 Animasi, Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta pada pembuatan Film Scoring dengan strategi pembelajaran menggunakan sampling suara isntrumen musik. Untuk mengetahui peningkatan hasil belajar mahasiswa, maka digunakan penelitian tindak kelas dengan tiga siklus. Indikator keberhasilan hasil belajar mahasiswa didapat dari nilai dalam tugas membuat film scoring. Hasil penelitian menunjukkan bahwa terjadi peningkatan hasil belajar mahasiswa pada akhir siklus ketiga dari PTK dengan menggunakan strategi pembelajaran sampling suara instrumen musik. Hasil belajar mahasiswa ini ditunjukan dengan jumlah mahasiswa yang mendapat nilai amat baik dan baik yaitu sekitar 93,75% dari 16 mahasiswa. Berdasarkan hasil tersebut, maka dapat disimpulkan bahwa penggunaan strategi sampling suara instrumen musik meningkatkan hasil belajar mahasiswa pada pembuatan film scoring. Film scoring is music written specifically to accompany a movie. The knowledge about music plays an important role in the making of film scoring. The purpose of film scoring is evoking audience’s emotion so they will understand the film message. Musical instrument is musical element that create audience’s emotion while watching film. This research aims to enhance student learning outcomes at Animation Study Program, Faculty of Media and Recorded Arts, Indonesia Institute of the Arts Yogyakarta in making film scoring with using sampling musical instrument as learning strategy. This research is classroom action research with three cycles. The indicator of student learning outcomes gathering from number of students who got an excellent and good marking in making film scoring. The results show 93,75% students or 15 out of 16 students got an excellent and good marking in making film scoring. According to the result of this study, it was concluded that the strategy of using sampling musical instrument can improve student learning outcome in making film scoring.
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Park, Byung-Kyu. "Timing Synchronization for film scoring." Journal of Digital Contents Society 12, no. 2 (June 30, 2011): 177–84. http://dx.doi.org/10.9728/dcs.2011.12.2.177.

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Xian, Yue. "Analysis of TV Film Scoring and Communication Efficiency Based on Artificial Intelligence." Wireless Communications and Mobile Computing 2022 (May 14, 2022): 1–10. http://dx.doi.org/10.1155/2022/5289754.

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The spread of TV movies has brought free participation in film reviews. Movies have brought freedom of time and space for comments. You can publish your own comments at any time without time restrictions. You can publish comments on forums, blogs, vote, and various websites, film companies, and even individuals to hold special online film competitions or film review activities. With the gradual maturity of film types, a series of subtypes such as artificial intelligence, interstellar civilization, and alien species have been derived. These contents have different emphases on type characteristics and narrative characteristics, although the subtypes of films have some common characteristics in essence. Based on artificial intelligence, this paper studies the scoring analysis and communication efficiency of TV and film. By adjusting the recommendation through user feedback, the average absolute error has been improved by 18% and the accuracy has been improved by 24%. Moreover, through four rounds of feedback, the accuracy of online computing recommendation for new users is very close to that for old users. This shows the superiority of artificial intelligence algorithm in solving the problems of cold start and complex interest recommendation. It can be predicted that artificial intelligence will become a unique cultural phenomenon. Its cultural connotation is all inclusive and worthy of continuous research and exploration by future generations. Artificial intelligence appears more and more frequently in science fiction films and presents more rich and detailed diversity and complexity.
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Terauchi, Y., H. Nadano, and M. Kohno. "Effect of MoS2 Films on Scoring Resistance of Gears." Journal of Mechanisms, Transmissions, and Automation in Design 108, no. 1 (March 1, 1986): 127–34. http://dx.doi.org/10.1115/1.3260775.

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In trying to clarify the effect of molybdenum disulfide film on the scoring resistance and the wear characteristics of gears, various tests on balls and gears coated with MoS2 film have been run. From the test results obtained with a four-ball machine and a power-circulating gear machine it was found that the effect of the MoS2 film was small on the seizure load of the balls. In contrast, the effect of the MoS2 film on the scoring resistance of the gears was significant, and the development of the gears of which the load-carrying capacity against scoring is considerably large could be made.
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Indrayuana, Adhitya. "Penggunaan Software “Native Instrument Kontakt” Pada Scoring Film." ULTIMART Jurnal Komunikasi Visual 6, no. 1 (November 12, 2016): 19–21. http://dx.doi.org/10.31937/ultimart.v6i1.363.

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Native Instrument Kontakt adalah software simulasi instrument atau sound effect yang biasa digunakan dalam menciptakan bunyi-bunyian , music dan scoring film . Suara pada software ini relative real seperti suara aslinya karena proses capturing-nya menggunakan instrument asli (analog) yang sudah ada . Target penggunanya adalah Composer & Sound Designer yang ingin bekerja cepat dan mendapat- kan hasil yang maksimal. Selain itu software ini sangat membantu ketika film yang akan di garap musiknya merupakan film low budget. Key words : simulasi , capturing instrument , software , composing , real audio , sequencer , midi.
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PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (August 2014): 311–37. http://dx.doi.org/10.1017/s1752196314000224.

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AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring and the use of preexistent music in films likeFighting Caravans(1931). Steiner preferred to compose alone and placed music strategically to delineate narrative space in films, as inSymphony of Six Million(1932), a technique he adapted for mediating exotic encounters in island adventure films precedingKong. Although press accounts and production materials show that Steiner and Finston's methods proved resilient in subsequent years,Kong's canonic status has marginalized Finston's role and threatens to misdirect appraisals of Steiner's other work. Considering Finston's practices at Paramount alongside Steiner's pre-Kongscores at RKO illuminates the limitations of using onlyKongas a model, and shows that Finston's perspective on film scoring in the early 1930s provides a corrective balance for understanding film musicians’ work before and afterKong.
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Ngubane, Ntombi. "Killmonger: scoring modes and representation in Black Panther." Image & Text, no. 36 (June 21, 2022): 1–14. http://dx.doi.org/10.17159/2617-3255/2022/n36a6.

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Anticipated by many, and equally a site of contention or reverence, Black Panther and its accompanying original musical score as composed by Ludwig Gõrranson is rife for analysis and brings to fore the question: in what ways is a Hollywood practice used in a film with seemingly other aesthetic aims? A score which features few disparate and disconnected vague references to an "African sound" for the imagined country of Wakanda is undercut even more so by the insistent use of an otherwise purely western orchestral score. Firstly, through a brief overview of Goransson's production approaches to the score for Black Panther, and his collaboration with local experts, this article argues for a more nuanced understanding of authorship arising from such collaborations between these expert improvising music and film composers who tend to be the sole credited composers. Furthermore, musical representations are complicated by the recurring theme of the "other" according to Classical Hollywood tropes through the integration of occasional African instruments. In section two, brief transcriptions of the music composed for the character Killmonger are provided, in the search for representation devices - how the music works to or fails to establish the character. Also provided are the authors' personal insights as to whether or not Gõransson's intentions with the music are in fact evident in the film.
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Wykes, Robert, Fred Karlin, and Rayburn Wright. "On the Track: A Guide to Contemporary Film Scoring." Notes 48, no. 2 (December 1991): 529. http://dx.doi.org/10.2307/942072.

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Dissertations / Theses on the topic "Film scoring"

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Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.

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Sallustio, Edward John. "Scoring Masculinity in Crisis: Thomas Newman’s Sonic World and the Disintegration of the Indiewood Male." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1544183693252701.

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Ellis-Geiger, Robert Jay. "Trends in contemporary Hollywood film scoring : a synthesised approach for Hong Kong cinema." Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486141.

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Within the context of contemporary Hollywood film music production; this thesis explores the use and application of technology for orchestral composition, orchestral music recording, through to the final delivery and integration of music on the dubbing stage. It also looks at the impact of technology on the entire post-production process and explores alternative ways for a more integrated filmmaking experience between director and composer. This empirical· research was successfully applied to the production of two Hong Kong feature film scores for Election 2 (2006) and· After This Our Exile (2006) and the production of the first Hong Kong film orchestral scoring session at Shaw Studios on the 22nd of February 2007.
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Sapiro, Ian Peter. "Scoring the score : The role of the orchestrator in the contemporary Bristish film industry." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535662.

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Dunn, John T. "Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/dunn%5Fjohn%5Ft/index.htm.

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Lawson, Matthew. "Scoring the Holocaust : a comparative, theoretical analysis of the function of film music in German Holocaust cinema." Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/8840/.

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Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialisation process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The musical score often goes unnoticed, but may also contain emotional qualities. It can make an audience laugh, cry or alter their perception of the narrative. The three countries of East, West and reunified Germany have each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This thesis combines three key existing fields of academia: film music theory, Holocaust representation in film, and German politics, history and culture. Through comparative textual analyses of six film case studies, two each from East, West and reunified Germany, this thesis examines whether there are examples of similarities or inherent, reoccurring musical characteristics which define the Holocaust on screen. Furthermore, the six analyses will be supported by contextual examinations of the respective countries, directors and composers in order to ascertain whether there were political, cultural and/or social considerations which impacted upon the film scores. The original contribution to knowledge to which this thesis lays claim is that it forms the first significant scholarly engagement with not only the film music of German Holocaust cinema specifically, but, on a broader scale, the ongoing theoretical discourse surrounding film music and representation. This new contribution to Holocaust knowledge also extends to a continued development of the understanding of and engagement with the event and its audio-visual representations.
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Ahn, Soo H. "Metropolis : music score for the film directed by Fritz Lang ; Scoring Metropolis : the development of my compositional practice." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/31449/.

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This commentary documents the compositional process of writing film music for the classic expressionist silent film Metropolis (Lang, 1927), using MIDI-based orchestral sound resources. Metropolis was chosen from within other possibilities, such as Battleship Potemkin or Nosferatu, not only due to the belief that the film’s surreal eerie mood and machine-like characters could be represented well by the Second Viennese School’s musical style that I intended to adopt, but also due to a judgment that leitmotivic transformation and use of themes as character links fit into a work so rich with characters’ showing subtle psychological states. I set out to compose an original orchestral score for Metropolis with the idea in mind, that film music should contribute to the audience’s integration with the drama and reinforcement of dramatic tensions by strategically supporting the film’s plot and narrative, and that an agreeable conceptual blending between film and music would be crucial to a successful composition. For this task, a thorough review of the leitmotif and related literature about music semiotics and meanings, together with a brief discussion of the MIDI sampler orchestra, proved to be necessary. Metropolis, a pioneering masterpiece of sci-fi, which contains a gloomy portrait of the futuristic world, encouraged me to experiment with the diverse possibilities not only of the leitmotif, but also of kaleidoscopic sound originating from various combinations of virtual instruments of the MIDI sampler orchestra and ultimately to show my musical process. The document traces the leitmotif as a primary compositional device for thematic manoeuvre in both film composers’ scores and major scholars’ discussions; it also incorporates current scholarly research about music semiotics and meanings, which has guided choices in each stage of my compositional process. I have revealed how I applied such lessons as Ennio Morricone’s microcell technique, Danny Elfman’s transformation approaches to thematic material, Howard Shore’s reflection of meaning onto music, and Ilan Eshkeri’s use of themes as character links to my Metropolis. I organized the main character’s associate themes using microcell and transformation techniques and contextualised them as character links. For instance, I produced tunes for cold-hearted characters, such as Rotwang, robot Maria, and high buildings, with the twelve-tone technique, poignant dissonances through interval-classes 1 and 6, recursive rhythmic patterns, or their combinations; I also adopted two distinct types of an octatonic scale to describe contrasting personalities of the two characters and a chord based on 2nd intervals to express the moment when Rotwang’s evil reaches its zenith. Metropolis serves not only as an artistic repository for numerous symbols, but also as a web of leitmotifs towards musical and filmic unity.
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Shankar, Vikram A. "Symphonies of Horror: Musical Experimentation in Howard Shore's Work with David Cronenberg." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1493750469131887.

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Georgiou, Chrystalla. "Beyond narrative : a cross-modal approach to soundtrack composition." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18621.

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This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.
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Doughty, Ruth. "Scoring a black aesthetic : music in the films of Spike Lee." Thesis, Keele University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412510.

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Books on the topic "Film scoring"

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Scharf, Walter. The history of film scoring. Studio City, CA: Cinema Songs, 1988.

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Advanced techniques for film scoring: A complete text. Los Angeles: Alfred Pub. Co., 1990.

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Rayburn, Wright, ed. On the track: A guide to contemporary film scoring. New York: Schirmer Books, 1990.

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Shakespeare, madness, and music: Scoring insanity in cinematic adaptations, 2009. Lanham, Md: Scarecrow Press, 2009.

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A, Bell David. Getting the best score for your film: A filmmakers' guide to music scoring. Los Angeles: Silman-James Press, 1994.

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1969-, Gold Murray, ed. Soundtrack nation: Interviews with today's top professionals in film, videogame and television scoring. Boston: Course Technology, 2011.

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Roberts, David E. Digital Performer for engineers and producers: Music production, mixing, film scoring, and live performance. Montclair, NJ: Hal Leonard Books, 2013.

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Complete guide to film scoring: The art and business of writing music for movies and TV. 2nd ed. Boston, MA: Berklee Press, 2010.

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Richard, Davis. Complete guide to film scoring: The art and business of writing music for movies and TV. Boston, MA: Berklee Press, 1999.

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Rona, Jeffrey C. The reel world: Scoring for pictures : [a practical guide to the art, technology, and business of composing for film and television]. San Francisco, Calif: Miller Freeman Books, 2000.

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Book chapters on the topic "Film scoring"

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Atkinson, Sarah. "Tuvalu Live!: Live Re-Scoring, Transnational Digital Participation and Audience Engagement in a Film Festival Context." In Transnational German Cinema, 71–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72917-2_5.

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Malsky, Matthew. "Scoring Ruttmann’s Berlin: Musical Meaning in Historical and Critical Contexts." In Today’s Sounds for Yesterday’s Films, 158–74. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137466365_11.

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Natzén, Christopher. "Multiple Soundtrack Versions on DVD: Scoring Modern City Life and Pastoral Countryside." In Today’s Sounds for Yesterday’s Films, 138–46. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137466365_9.

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Deszczyński, Bartosz. "Validating the Relationship Management Maturity Concept." In Firm Competitive Advantage Through Relationship Management, 121–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67338-3_4.

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AbstractThis chapter operationalizes and tests the preliminary proposal of the RM maturity model in field research. The first section discusses the design of the 40-question questionnaire, which aims to verify the links between RM maturity and sustainable competitive advantage. Different classes of research biases are addressed on a semantic level, and a scoring method based on the Net Promoter Score methodology is introduced. The second section presents the analytical strategy and the design of the empirical test, encompassing the self-reporting of business respondents and machine learning analytical techniques. The product of this analysis is a set of association rules, which separate a ‘basket’ of 10 critical RM activities and approaches linked by 16 rules, typically in a reciprocal way. The third section comments on the detailed empirical results on RM maturity and sustainable competitive advantage, which are found to be much in line with business ethics. The hallmark of an ethical RM-mature firm is open internal vertical and horizontal communication, which enables the company to be a meaningful partner in the relationships with its customers and other stakeholders.
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"SCORING MORALITY:." In Aaron Copland's Hollywood Film Scores, 40–57. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctvxhrjxj.7.

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"At the Twilight’s Last Scoring." In Hearing Film, 101–4. Routledge, 2002. http://dx.doi.org/10.4324/9780203900802-11.

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"Involvement in a Film-Scoring Project." In Scoring the Score, 155–78. New York ; London : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315857824-15.

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"The Role of the Orchestrator in the Contemporary Film Industry." In Scoring the Score, 201–12. New York ; London : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315857824-18.

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"22. Scoring the Film (1937)." In Celluloid Symphonies, 221–30. University of California Press, 2019. http://dx.doi.org/10.1525/9780520947436-027.

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"Water Music: Scoring the Silent World." In Music and Sound in Documentary Film, 118–36. Routledge, 2014. http://dx.doi.org/10.4324/9781315851556-13.

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Conference papers on the topic "Film scoring"

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Phalip, Julien, Matthew Morphett, and Ernest Edmonds. "Alleviating communication challenges in film scoring." In the 2007 conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1324892.1324895.

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Phalip, Julien, Ernest A. Edmonds, and David Jean. "Supporting remote creative collaboration in film scoring." In Proceeding of the seventh ACM conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1640233.1640266.

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Gao, Ziting, Yana Zhang, Jun Zhang, and Cheng Yang. "Sparsity Based Hybrid Prediction Model for Film Scoring." In 2018 IEEE 18th International Conference on Communication Technology (ICCT). IEEE, 2018. http://dx.doi.org/10.1109/icct.2018.8599952.

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Liu, Chong. "Design of multidimensional film scoring model based on TOPSIS algorithm." In International Conference on Optics and Machine Vision (ICOMV 2022), edited by Fengxin Cen and Jianjun Wang. SPIE, 2022. http://dx.doi.org/10.1117/12.2634492.

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Mandegaran, R., E. Nikiphorou, S. Bahadur, C. Hughes, B. Kirkham, and A. Zavareh. "SAT0349 A novel scoring system to differentiate psoriatic arthritis from nodal osteoarthritis on plain-film radiographs." In Annual European Congress of Rheumatology, EULAR 2018, Amsterdam, 13–16 June 2018. BMJ Publishing Group Ltd and European League Against Rheumatism, 2018. http://dx.doi.org/10.1136/annrheumdis-2018-eular.7462.

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Wang, Anngwo, and Lotfi El-Bayoumy. "Gear Tribology Aspects in Aircraft High-Lift Actuation Systems." In ASME/STLE 2011 International Joint Tribology Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/ijtc2011-61019.

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Gears are extensively used in aircraft high-lift actuation systems in which the loading is high and the speed is relatively slow. The specific lubrication film thickness falls into the boundary lubrication regime. In case of lubrication failure, it will cause pitch-line pitting, scoring or micropitting. Many tests have been performed to examine the root cause of these problems. The sliding and rolling action between mating gears in a compound planetary rotary actuator is the source of variation in efficiency. This efficiency variation can be smooth or fluctuating depending on the combination and timing of ring, planet and sun gears. The instantaneous efficiency characteristics of synchronous and non-synchronous actuators under forward-driving with opposing load and reverse-driving with aiding load are investigated. These are some of the gear tribological topics discussed in this paper.
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Gayzik, F. Scott, Melissa Daly, and Joel Stitzel. "A Method to Discriminate Pulmonary Contusion Severity Through Analysis of Hounsfield Unit Frequency." In ASME 2007 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2007. http://dx.doi.org/10.1115/sbc2007-176906.

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This study presents a novel approach for the quantification and classification of pulmonary contusion (PC). PC is a common thoracic injury, affecting up to 25% of patients sustaining blunt chest trauma. [1] Contusion volume at the time of hospitalization has been shown to be an independent predictor for the development of Acute Respiratory Distress Syndrome (ARDS), with the risk of ARDS increasing sharply with PC in excess of 20% by volume. [1] Despite the frequency of the injury and strong positive correlation between contusion volume and outcome, there are relatively few contusion quantification methods in the current literature. One such study utilized chest x-ray film to score PC according the amount of lung appearing to be damaged. [2] The study concluded that despite the limitations in using chest x-rays, a PC scoring system may be of value in determining the need for ventilator assistance and predicting outcome. A potentially more accurate approach to quantifying the severity of PC is through the use of computed tomography (CT) chest scans. CT is the preferred modality for obtaining volumetric pulmonary contusion data since the complete three-dimensional lung anatomy is captured. In this work a semi-automated approach is used to analyze PC in an isolated model of lung contusion in the rat. [3, 4] The CT-based approach enables the PC to be precisely quantified as the lesion progresses in time. The technique distinguishes the severity of the contusion by analyzing the composition of bands in the Hounsfield Unit (HU) range of lung image masks.
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Ye, Yanfang, Tao Li, Qingshan Jiang, Zhixue Han, and Li Wan. "Intelligent file scoring system for malware detection from the gray list." In the 15th ACM SIGKDD international conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1557019.1557167.

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Baharudin, Dayana Mastura. "A New Integrated Reporting’S 6-Capitals Scoring Index Towards Firm Financial Performance." In 13th Asian Academy of Management International Conference 2019. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.12.

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Marinho, Jeziel C., Fábio Cordeiro, Rafael T. Anchiêta, and Raimundo S. Moura. "Automated Essay Scoring: An approach based on ENEM competencies." In Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/eniac.2022.227202.

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Este trabalho apresenta estratégias para Avaliação Automática de Redações (AAR) escritas em português por meio de uma abordagem baseada na definição de features e modelos de AAR específicos para cada competência da matriz de referência do ENEM. Foram investigados métodos baseados em engenharia de features, embeddings e Redes Neurais Recorrentes. Apesar dos resultados obtidos serem melhores do que trabalhos relacionados, novos estudos devem ser conduzidos a fim de melhorar o desempenho dos modelos de AAR para a língua portuguesa.
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Reports on the topic "Film scoring"

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Campbell, Seth, Rosa Affleck, and Samantha Sinclair. Ground-penetrating radar studies of permafrost, periglacial, and near-surface geology at McMurdo Station, Antarctica. Engineer Research and Development Center (U.S.), September 2022. http://dx.doi.org/10.21079/11681/45320.

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Installations built on ice, permafrost, or seasonal frozen ground require careful design to avoid melting issues. Therefore, efforts to rebuild McMurdo Station, Antarctica, to improve operational efficiency and consolidate energy resources require knowledge of near-surface geology. Both 200 and 400 MHz ground-penetrating radar (GPR) data were collected in McMurdo during January, October, and November of 2015 to detect the active layer, permafrost, excess ice, fill thickness, solid bedrock depth, and buried utilities or construction and waste debris. Our goal was to ultimately improve surficial geology knowledge from a geotechnical perspective. Radar penetration ranged between approximately 3 and 10 m depth for the 400 and 200 MHz antennas, respectively. Both antennas successfully detect buried utilities and near-surface stratified material to ~0.5–3.0 m whereas 200 MHz profiles were more useful for mapping deeper stratified and un-stratified fill over bedrock. Artificially generated excess ice which appears to have been created from runoff, water pooling and refreezing, aspect shading from buildings, and snowpack buried under fill, are prevalent. Results show that McMurdo Station has a complex myriad of ice-rich fill, scoria, fractured volcanic bedrock, permafrost, excess ice, and buried anthropogenically generated debris, each of which must be considered during future construction.
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Mizrach, Amos, Sydney L. Spahr, Ephraim Maltz, Michael R. Murphy, Zeev Schmilovitch, Jan E. Novakofski, Uri M. Peiper, et al. Ultrasonic Body Condition Measurements for Computerized Dairy Management Systems. United States Department of Agriculture, 1993. http://dx.doi.org/10.32747/1993.7568109.bard.

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The body condition (BC) score is recognized in the dairy industry as an essential tool for managing the energy reserves of the dairy cow, which is essential for sustaining optimal and efficient production over several lactations. The current use of BC scoring depends on the accuracy of subjective visual estimates, and this limits its kusefulness as a management aid in the dairy industry. A measuring tool that would frequently provide objective data on the cow's body reserves would be a major contribution to efficient dairy herd management. Ultrasonic sensors have the potential to be developed into an efficient BC measuring device, and the experimental use of such sensors for subcutaneous fat thickness (SDFT) estimates, as an indication for BC in beef cattle, supports this assumption. The purposes of this project were: 1. To compare visual BC scoring and ultrasonic fat thickness with on-line automated body weight (BW) measurements as monitors of nutritional adequacy of dairy cows at various stages of lactation. 2. To determine the effects of variation in digestive fill in early and late lactation on the accuracy of body weight measurements in lactating cows. 3. To modify an existing ultrasonic system and develop a specialized, low-cost sensor for repeatable determination of body condition scores by users with minimal training and skill. 4. To develop a standard for the assignment of body condition scores based on ultrasonic measurements of subdermal fat thickness. The procedure to execute these objectives involved: 1. Frequent measurement of BW, milk yield (MY), BC (visually scored) and subdermal fat thickness ultrasonically measured of dairy cows, and data analysis on average and individual basis. 2. Testing and selection of an appropriate special-purpose sensor, finding an optimum body location for working an ultrasonic measurement, prcessing the signals obtained, and correlating the resulting measurements with performance responses in lactating cows. Linking the ultrasonic signals to BC scores, and developing a BC scoring data acquisition system are the first steps towards fulfilling the necessary requirements for incorporating this device into an existing dairy herd management system, in order to provide the industry with a powerful managment tool. From the results obtained we could conclude that: 1. BC does not correlate with BW changes during all stages of lactation, although in general terms it does. These results were confirmed by individual cow BW and BC data obtained during the course of lactation, that were supported by individual objective ultrasonic measurement of SDFT. 2. BW changes reflect energy metabolism reliably ony after peak milk yield; early in lactation, a decrease in BW expresses mobilization of body reserves only qualitatively, and not quantitatively. 3. Gastrointestinal content increases throughout the whole period during which dry matter intake (DMI) increases. The drastic increase very early in lactation prevents the use of BW changes as a basis for quantitative estimatio of energy meatabolism; at this stage of lactation, konly a BC score or any other direct measurements willl provide a quantitative estimate of energy metabolism. 4. Ultrasonic measurements of subdermal fat thickness can be used to quantify changes that correlate with the actual condition of the cow, as assessed by performance and the traditional way of scoring. 5. To find the best site on the cow's body at which to obtain responses to BC and its changes in the course of lactation, additional sites have to be examined. From the present study, it seems that the sites between ribs 12 and 13 have the potential for this purpose. 6. The use of templates made it easier to repeat measurements at a desired site and spot. However, the convenient easy-to-handle way to standardize the measurement, described in this study, koffers scope for improvement. 7. The RF peak values of the A-mode are better indicators of the location of fat layer borders than image analysis, from the point of view of future commercial development. 8. The distances between the RF peaks of the A-mode can be automatically measured by suitable software, for future commercial development. 9. Proper analysis of daily body weight and milk yield data can provide the necessary information on body condition changes during lactation, until a direct BC measurement device is developed. 10. In any case, at least one visual BC assessment has to be done, preferably immediately after calving, for calibration purposes.
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