Relevant bibliographies by topics / Four chords

Contents

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

Academic literature on the topic 'Four chords'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Four chords"

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Kaestri, V. Yoni. "Perpaduan Nada‐nada dalam Perspektif Harmoni dan Aplikasinya Terhadap Mahasiswa." PROMUSIKA 3, no. 2 (November 23, 2015): 149–62. http://dx.doi.org/10.24821/promusika.v3i2.1701.

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The combination of tones in the diatonic musical study is called the harmony. Harmony here is intended for the human voice, that encompasses the soprano (S) for high female voice, the alto (A) for low female voice, the tenor (T) for high male voice, and the bass (B) for low male voice. Each sound has a different register, as it was introduced at the beginning part of many harmony text books, for example the one that was written by Gustav Strube. The initial step of tonesarrangements is based on the tonic, dominant, and sub‐dominant chords. Because the triad chord is consists of 3 notes only while the four voices are needed in the SATB arrangement, doubling the one of triad components is necessary. In addition to doubling treatment we should be aware of applying the proper chord positions, whether it is the basic position (bass doubling), the first inversion (soprano doubling), or the second inversion (bass doubling). In the fourth voices chord, eg the dominant seventh chords, although it is possible to treat the doubling by eliminating the element of its tone composite, it is not usually applied due to the number of its chord tones is already four. While in its application to the student, it is better to be based on the memorization of basic chords, for example major, minor, diminished, and augmented chords, after that continued by working on the triad chord, four voice chords, and also the neapolitan sixth.
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Brooks, Daniel I., and Robert G. Cook. "Chord Discrimination by Pigeons." Music Perception 27, no. 3 (February 1, 2010): 183–96. http://dx.doi.org/10.1525/mp.2010.27.3.183.

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PIGEONS WERE TRAINED IN A GO/NO-GO TASK TO discriminate a major triad from four other chord triads. These latter chords were constructed by altering the third or fifth of the triad by one semitone, creating minor, suspended fourth, augmented, or flat five chords. Experiment 1 used a C root to test these chords. Experiment 2 examined the discrimination of these chords using the D root. Pigeons could discriminate these harmonically complex triads, with manipulations of the fifth supporting better discrimination than manipulations of the third. The augmented chord was perceived as the most dissimilar from the major chord and the suspended fourth chord as the most similar. A combination of attention to sensory consonance and absolute properties of the chords is suggested to account for the results. Comparable human results suggested some overlap in their perception of harmonic elements, but a considerable difference in their flexibility to use this information across different contexts.
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Sollberge, Bernhard, Rolf Rebe, and Doris Eckstein. "Musical Chords as Affective Priming Context in a Word-Evaluation Task." Music Perception 20, no. 3 (2003): 263–82. http://dx.doi.org/10.1525/mp.2003.20.3.263.

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Using an affective priming paradigm, we demonstrated that the affective tone of musical chords influences the evaluation of target words. In Experiment 1, participants heard either consonant chords with three tones or dissonant chords with four tones as primes and then saw a positive or a negative word as target. Even participants who were unaware of the hypothesis of the experiment evaluated target words faster if the words were preceded by a similarly valenced chord (e.g., consonant-holiday) as compared to affectively incongruent chord-word pairs (e.g. dissonanthumor). In Experiment 2, results of Experiment 1 were replicated even when chord density was held constant at three tones per chord. Results suggest that the affective tone of single musical elements is automatically extracted and might therefore be viewed as a basic process contributing to the strong connection between music and affect.
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Parncutt, Richard, Sabrina Sattmann, Andreas Gaich, and Annemarie Seither-Preisler. "Tone Profiles of Isolated Musical Chords: Psychoacoustic Versus Cognitive Models." Music Perception 36, no. 4 (April 1, 2019): 406–30. http://dx.doi.org/10.1525/mp.2019.36.4.406.

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We investigated perception of virtual pitches at missing fundamentals (MFs) in musical chords of three chromas (simultaneous trichords). Tone profiles for major, minor, diminished, augmented, suspended, and four other trichords of octave-complex tones were determined. In Experiment 1, 40 musicians rated how well a tone went with a preceding chord; in Experiment 2, whether the tone was in the chord. Mean ratings for nine non-chord tones were compared with predictions of four models: MFs, diatonicity, 5th-interval relations, and tones that complete familiar tetrachords (e.g., 7th chords). Profiles were accounted for by all four models in Experiment 1, and two (MFs, 5th relations) in Experiment 2. Overall, effect size was largest for MFs. In Experiment 3, listeners heard a chord and chose a matching tone from 12 possibilities. Profile peaks were predicted by pitch models (usually, the lower tone of a perfect 5th). Participants who more likely attended to MFs in isolated harmonic complex tones (fundamental listeners) were not more sensitive to MFs in chords, suggesting their responses instead depended on statistical properties of familiar music. We propose a speculative, psychohistoric explanation: MFs influenced the historical development of musical structure, which in turn influenced the perception of enculturated modern listeners.
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Brown, Jenine, Daphne Tan, and David John Baker. "The Perceptual Attraction of Pre-Dominant Chords." Music Perception 39, no. 1 (September 1, 2021): 21–40. http://dx.doi.org/10.1525/mp.2021.39.1.21.

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Among the three primary tonal functions described in modern theory textbooks, the pre-dominant has the highest number of representative chords. We posit that one unifying feature of the pre-dominant function is its attraction to V, and the experiment reported here investigates factors that may contribute to this perception. Participants were junior/senior music majors, freshman music majors, and people from the general population recruited on Prolific.co. In each trial, four Shepard-tone sounds in the key of C were presented: 1) the tonic note, 2) one of 31 different chords, 3) the dominant triad, and 4) the tonic note. Participants rated the strength of attraction between the second and third chords. Across all individuals, diatonic and chromatic pre-dominant chords were rated significantly higher than non-pre-dominant chords and bridge chords. Further, music theory training moderated this relationship, with individuals with more theory training rating pre-dominant chords as being more attracted to the dominant. A final data analysis modeled the role of empirical features of the chords preceding the V chord, finding that chords with roots moving to V down by fifth, chords with less acoustical roughness, and chords with more semitones adjacent to V were all significant predictors of attraction ratings.
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Koelsch, Stefan, Tomas Gunter, Angela D. Friederici, and Erich Schröger. "Brain Indices of Music Processing: “Nonmusicians” are Musical." Journal of Cognitive Neuroscience 12, no. 3 (May 2000): 520–41. http://dx.doi.org/10.1162/089892900562183.

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Only little systematic research has examined event-related brain potentials (ERPs) elicited by the cognitive processing of music. The present study investigated how music processing is influenced by a preceding musical context, affected by the task relevance of unexpected chords, and influenced by the degree and the probability of violation. Four experiments were conducted in which “nonmusicians” listened to chord sequences, which infrequently contained a chord violating the sound expectancy of listeners. Integration of in-key chords into the musical context was reflected as a late negative-frontal deflection in the ERPs. This negative deflection declined towards the end of a chord sequence, reflecting normal buildup of musical context. Brain waves elicited by chords with unexpected notes revealed two ERP effects: an early right-hemispheric preponderant-anterior negativity, which was taken to reflect the violation of sound expectancy; and a late bilateral-frontal negativity. The late negativity was larger compared to in-key chords and taken to reflect the higher degree of integration needed for unexpected chords. The early right-anterior negativity (ERAN) was unaffected by the task relevance of unexpected chords. The amplitudes of both early and late negativities were found to be sensitive to the degree of musical expectancy induced by the preceding harmonic context, and to the probability for deviant acoustic events. The employed experimental design opens a new field for the investigation of music processing. Results strengthen the hypothesis of an implicit musical ability of the human brain.
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Costa-Giomi, Eugenia. "Recognition of Chord Changes by 4- and 5-Year-Old American and Argentine Children." Journal of Research in Music Education 42, no. 1 (April 1994): 68–85. http://dx.doi.org/10.2307/3345338.

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The purpose of the study was to investigate young children's abilities to discriminate between two chords played as the accompaniment of a melody and played alone with no melody. After receiving brief training in harmonic discrimination, 167 children ages 4 and 5 from four preschools were tested in their ability to discriminate between the chords “I” and “V6/5” in the song “En la Torre de una Iglesia” or between the chords “i” and “VII” in “Drunken Sailor.” ANOVAs with repeated measures were performed for age, school, order of stimulus presentation (within variable), and type of stimulus on children s scores for each song. Both analyses indicated that age, type of stimulus, and the interaction of these two variables affected children's performance in the test significantly. In addition, order of presentation was found to be a significant variable of children's scores for the song “Drunken Sailor.” Five-year-olds could detect harmonic changes in simple chord progressions, but were unable to do so when a melody was superimposed over the progression. Four-year-olds could not identify the chord changes of either stimuli.
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Kuusi, Tuire. "The Consonance and the Context Guiding the Participants' Ratings of Chords Representing Different Set-Classes." Musicae Scientiae 9, no. 2 (July 2005): 313–39. http://dx.doi.org/10.1177/102986490500900209.

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This study examined factors guiding the participants' ratings of pentachords representing different pentad classes. Two tests were carried out where the participants (non-musicians, professional music students, and music theorists and composers) heard sequences of five chords. Four of the chords represented one set-class, and these chords formed the context; one chord represented another set-class, and it was the deviant. The participants were asked which chord did not belong to the same group as the others. When the data were analysed, the main interest was in the difference in the consonances of the context chords and the deviant chord. The difference varied greatly from case to case. It was found that the participants selected the deviant chord when there was a clear difference in the consonances of the set-classes. However, the difference in the consonances was not the only factor guiding the participants' ratings. The context was found to be important for both musically trained and untrained participants, but in different ways. Generally, the non-musicians used the set-class identity as a guide in the items where the context was more consonant than the deviant, while in a dissonant context they used chordal characteristics, especially the transpositional level. The composers and theorists, on the other hand, made their ratings according to the set-class identity when the context was more dissonant than the deviant and according to the chordal characteristics when the context was more consonant than the deviant.
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Rote, Günter. "Curves with increasing chords." Mathematical Proceedings of the Cambridge Philosophical Society 115, no. 1 (January 1994): 1–12. http://dx.doi.org/10.1017/s0305004100071875.

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AbstractA curve has increasing chords if AD ≥ BC for any four points A, B, C, D lying on the curve in that order. The length of such a curve that connects two points at distance 1 is at most 2π/Z in two dimensions, which is the optimal bound, and less than 30 in three dimensions.
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Knobloch, Marie, Jesko L. Verhey, Michael Ziese, Marc Nitschmann, Christoph Arens, and Martin Böckmann-Barthel. "Musical Harmony in Electric Hearing." Music Perception 36, no. 1 (September 1, 2018): 40–52. http://dx.doi.org/10.1525/mp.2018.36.1.40.

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A cochlear implant (CI) restores hearing for profoundly deaf patients by transmitting sound to an array of electrodes that stimulates the inner ear. The small number of frequency bands and limited transmission of temporal fine structure affects the music perception. The present work investigates the pleasantness of chords and chord sequences in adults using such electric hearing. In the first task, participants compared chord types according to their perceived pleasantness. Normal-hearing listeners judged the major chord and the minor chord as the most pleasant ones compared to other chord types. CI users appraised the major chord as more consonant than other chord types. The second task used four-chord sequences, half of which ended on an authentic V-I cadence. In the other presentations, the final tonic was replaced either by a transposed major chord or by a dissonant chord. The participants had to judge whether the ending was conclusive. While normal-hearing listeners preferred authentic cadences, all but one CI user assessed the modified cadences as similarly satisfying. The results indicate that CI users appreciated consonance of isolated chords to a certain extent similar to normal-hearing listeners. Nevertheless, the majority of CI users fail to register the musical syntax in the harmonic progression of cadences.
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Dissertations / Theses on the topic "Four chords"

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Nilsson, Simon. "Four Chords : Förutsägbart eller genialiskt?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66945.

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I det här arbetet har jag undersökt melodiernas kvalitet och vilka byggstenar som ligger till grund för melodins intresse. Därför begränsade jag mig till att skriva sex ”four chords”-låtar där jag sedan bedömde och analyserade resultatet. Jag kom fram till att melodins samverkan med rytmen samt användandet av pauser är av största vikt för att melodin ska finna mitt intresse.
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Callaghan, Thomas F. "The utility of a technique for testing the difference in ease of chords on the Ternary Chord Keyboard." Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/53207.

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In a pilot study, response times of 64 possible chords on the Ternary Chord Keyboard (TCK) were compared in order to establish a basis for assigning characters to chords. It was found that subjects had faster response times for some chords than others. Upon close inspection of the experimental procedure, it appeared that the way in which the chords were cued caused part of the differences in response time, which had been expected to depend only on chord motor differences. The present study was designed to examine the hypotheses that chord cueing caused part of the differences in chord response times, and that this effect of cueing is consistent over practice; and also the hypothesis that the results of the pilot study reflected the motor (movement time) difference between chords, and that the difference itself is consistent over practice. This was done in the framework of Sternbcrg's Additive Factors Method. lt was found that the cueing scheme used in the pilot study did not cause the differences in chord response times. However, the differences in chord movement time was not reflected by the use of the pilot study paradigm. This technique should therefore not be used in ordering chords according to chord case.
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Canfield, Jennifer Leigh Kirkland Walls Kimberly C. "Middle and junior high school choral repertoire directors' criteria for selection, quality, and appropriateness /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1814.

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Pan, Yu-Wen. "Analysis and rehearsal strategies for selected renaissance choral music suitable for secondary school mixed choirs." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228838498.

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Westfall, Claude R. Sims Wendy L. "Criteria identified by selected Missouri high school choral directors for placement of concert repertoire in concert order." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/6630.

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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy L. Sims. Vita. Includes bibliographical references.
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Kasler, Ariel. "Giant Steps: Chord Substitutions and Chord-Scales for Improvisation." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395256969.

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Roush, Dean K. "On chords generating scales ; Three compositions for orchestra /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487260135356248.

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Barber, Holly. "Women in the Spotlight| A Survey of Female Choral Composers for Middle and High School Choirs." Thesis, California State University, Los Angeles, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10618445.

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This project report presents a set of criteria for choosing a balanced program of repertoire for choirs, specifically focusing on increasing the representation of female composers in programming for middle and high school choirs. The recital given in conjunction with this report represents these criteria in action.

In addition to providing a biography of each composer and analyzing the text and musical structure of each song, the author includes her rationale for choosing each piece based on the criteria, as well as teaching strategies and conducting techniques employed. The project report also includes an appendix with an annotated bibliography to provide an updated resource for conductors at the middle and high school level who want to be deliberate in programming a more diverse representation of composers.

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Bade, Andy. "Achieving Balance in Music for Chorus and Band: Analysis and Performance Issues in Requiem by Frigyes Hidas." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301478.

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The purpose of this study is to provide a guide for conductors when evaluating issues of balance in works for chorus and symphonic band, and to assist them in realizing such works in performance. The principal focus of the document will be an analysis of vocal and instrumental textures in Requiem by Frigyes Hidas as they affect balance and textual clarity, using accompaniment types described by Hawley Ades as guides. The analysis shows that the scoring helps mitigate balance problems commonly found in other works scored for similar forces, making a variety of performance options and interpretations available to conductors. Ensemble issues are discussed as they relate to balance, as are practical solutions regarding stage setup.
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Underwood, Catherine Richardson. "Permanent Bracing Design for MPC Wood Roof Truss Webs and Chords." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/31581.

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The objectives of this research were to determine the required net lateral restraining force to brace j-webs or j-chords braced by one or more continuous lateral braces (CLB's), and to develop a methodology for permanent bracing design using a combination of lateral and diagonal braces. SAP2000 (CSI, 1995), a finite element analysis program, was used to analyze structural analogs for three sets of truss chords braced by n-CLB's and one or two diagonals, one web braced by one and two CLB's, and j-truss chords braced by n-CLB's. System analogs used to model five eight-foot truss chords braced by three CLB's and one diagonal, six twenty-foot truss chords braced by nine CLB's and two diagonals, and eleven twenty-foot truss chords braced by nine CLB's and two diagonals were analyzed. For each of the three cases analyzed, the chord lumber was assumed to be 2x4 No. 2 Southern Pine (S. Pine) braced by 2x4 STUD Spruce-Pine-Fir (SPF). Chord load levels of 10% to 50% of the allowable compression load parallel-to-grain assuming le/d of 16 were studied. All wood-to-wood brace connections were assumed to be made with 2-16d Common nails. A nonlinear load-displacement function was used to model the behavior of the nail connections. Single member analogs were analyzed that represented web members varying in length from four-feet to twelve-feet braced by one and two CLB's. The web and CLB's were assumed to be 2x4 STUD SPF. The web members were also analyzed assuming 2x6 STUD SPF. Single member analogs were analyzed that represented chord members varying in length from four-feet to forty-feet braced by n-CLB's spaced twenty-four inches on-center. The truss chord was assumed to be No. 2 Southern Pine and the CLB's were assumed to be STUD SPF. The chord size was varied from 2x4 to 2x12 and connections were assumed to consist of 2-16d Common nails. The system analog analysis results were compared to the single member chord analysis results based on the number of truss chords and the diagonal brace configuration. For the three cases studied involving multiple 2x4 chords braced as a unit (and believed to be representative of typical truss construction), the bracing force from the single member analog analysis was a conservative estimate for bracing design purposes. It was concluded that the single member analysis analog yields approximate bracing forces for chords larger than 2x4 and for typical constructions beyond the three cases studied in this research. For analysis and design purposes, a ratio R was defined as the net lateral restraining force per web or chord divided by the axial compressive load in the web or chord. For both 2x4 and 2x6 webs braced with one CLB, the R-value was 2.3% for all web lengths studied. For both 2x4 and 2x6 webs braced with two CLB's, the R-value was 2.8% for all web lengths studied. The web and CLB lumber species did not affect the R-values for the braced webs. Calculated R-values for truss chords, 2x4 up to 2x12, braced by n-CLB's assumed to be spaced two feet on-center for chords four to twelve feet in length ranged from 2.2% to 3.0%, respectively. For chords from sixteen to forty feet in length, R ranged from 3.1% to 2.6%, respectively. The lumber species and grade assumed for the chord and CLB did not affect the R-values for the truss chords. Step-by-step design procedure was developed for determining the net lateral restraining force required for bracing j-chords based on the results of the single member analogs studied. The required total lateral restraining force for j-compression members in a row can be calculated based on the R-value for or the number of CLB's installed at 2 feet on-center, the design axial compression load in the chord, and number of trusses to be braced.
Master of Science
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Books on the topic "Four chords"

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E, Kovach Joseph. Chords for the guitar: Movable four-note chords. Philadelphia, PA: Julia Pub. House, 1994.

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Latarski, Don. Chord embellishment for guitar: Extending the sound of chords with scale harmonizations, chord substitution, and conversion. Eugene, OR: DoLa Pub., 1990.

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Charupakorn, Joe. Ultimate guitar chord decoder: The most essential chords for all guitar styles. Milwaukee, WI: Hal Leonard, 2014.

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Bartle, Jean Ashworth. Lifeline for children's choir directors. Toronto: Gordon V. Thompson Music, 1988.

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Bartle, Jean Ashworth. Lifeline for children's choir directors. Toronto, Ont: Gordon V. Thompson, 1993.

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Bartle, Jean Ashworth. Lifeline for children's choir directors. Toronto, Canada: Gordon V. Thompson Music, 1988.

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John, Loesberg. Chords for Mandolin,Irish Banjo,Bouzouki,Tenor Mandola,Mandocello: Easy Chords in all Keys,with sections on Tunings,Capos and Chord-relations. Cork: Ossian, 1989.

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Guitar chords for dummies. Chichester: Wiley, 2010.

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Fowler, William L. Seventh chords & arpeggios, for bass. Lakewood, CO: Fowler Music, 1991.

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Choral techniques: Beyond the basics : practical suggestions for choral conductors of school groups and community and church choirs. San Diego, Calif: N.A. Kjos, 1997.

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Book chapters on the topic "Four chords"

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Terefenko, Dariusz. "Four-Part Chords." In Jazz Theory Workbook, 14–18. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-4.

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Terefenko, Dariusz. "Four-Part Chords." In Jazz Theory, 33–42. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-4.

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Piazza, Roberto. "Fluid chords." In UNITEXT for Physics, 141–99. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44537-3_4.

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Turek, Ralph, and Daniel McCarthy. "Part Writing Seventh Chords." In Theory for Today’s Musician, 227–44. Third edition. | New York ; London : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351246262-18.

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McCarthy, Daniel, and Ralph Turek. "Seventh Chords/Second-Inversion Harmonies." In Singing and Dictation for Today#x2019;s Musician, 107–16. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367814984-18.

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Franco, Israel, and Jordan Gitlin. "Chordee." In Pediatric Urology for the Primary Care Physician, 237–42. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-60327-243-8_31.

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McCarthy, Daniel, and Ralph Turek. "Uses of the Six-Four Chord." In Singing and Dictation for Today#x2019;s Musician, 117–23. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367814984-19.

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Kalala, Kalonji, Tao Feng, and Iluju Kiringa. "EigenTrust for Hierarchically Structured Chord." In Security and Trust Management, 203–12. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-68063-7_14.

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Cao, Yang, Zhenhua Duan, Jian-Jun Qi, Zhuo Peng, and Ertao Lv. "Implementing Chord for HP2P Network." In On the Move to Meaningful Internet Systems 2006: OTM 2006 Workshops, 1480–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11915072_53.

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Petrounias, Alexis, and Susan Eisenbach. "Fairness for Chorded Languages." In Lecture Notes in Computer Science, 86–105. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02053-7_5.

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Conference papers on the topic "Four chords"

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Nishi, Yoshihisa, Yuzuru Eguchi, Takashi Nishihara, Izumi Kinoshita, Fumio Inada, and Kazufumi Nagashima. "Experimental Study of the Influence of Roughness Change in a Piping on the Flow Measurement." In 17th International Conference on Nuclear Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/icone17-75144.

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In measurement of an ultrasonic flowmeter, the flow rate in piping is obtained using some measurement signals along the “chord” of the circular cross section of the piping. As for the “Chordal type ultrasonic flowmeter”, the flow rate is obtained by four (or eight) “chords”. The wall roughness influences the velocity profile. To evaluate the influences of roughness change on the measurement using four velocity points, a water test was performed. The Reynolds (Re) number of the test ranges from 4×105 to 3×106. It was suggested that high precision measurement in the range of high Re number can be expected in the smooth pipe. In the wall where sand of 0.1mm diameter was pasted, no difference in the velocity profile with the smooth wall was observed. A change in the velocity profiles appeared in the rough surface pipe where sands of 0.6mm and 0.2mm diameter has been pasted. Bias error (ESL) was used to estimate the uncertainty of the flow rate measurements using four velocity points. The difference of each ESL value based on the influence of roughness tended to diminish as the Re number increased. And the Re number dependency of ESL is small, especially in the high Re number side. It suggests that an actual flow rate test for the high Re number to confirm the influence of roughness would not be necessary.
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Wen, Wangqing, Zheng-chun Xia, Guo-zhao Qu, and Zhou Shi. "Study on A New Type of Deck Applied to Four-lines Railway Cable- stayed Bridge with Wide Truss Stiffening Girder." In IABSE Conference, Kuala Lumpur 2018: Engineering the Developing World. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/kualalumpur.2018.0983.

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<p>A cable-stayed bridge, whose main span is 230 m, is a four-line railway steel truss bridge. It is the first time to use only two main trusses in four-line railway truss bridge. In order to solve the transfer problem of wide truss-deck system and the design of the horizontal deck-beam, auxiliary longitudinal beams and horizontal K-bars are installed near lower chords of main truss. This is an innovative deck system, and we need to research on the structure performance. In this paper, the comparative analysis between the new type of deck system with horizontal K-bars and the traditional deck system with multi-crossbeam were carried out by FEM which focus on the deck structural characteristics, system stiffness, local deformation, etc. Also, in order to carry out the model test, a scale segmental experimental model of deck structure with horizontal K-bars was designed and manufactured. The FEM results show that: the bridge deck system with horizontal K- shaped braces is better than the multi-crossbeam deck system in structural stiffness, local deformation, participating rate of longitudinal force. And, the experimental results were in good agreement with the results of FEM analysis, which verified the correctness of FEM results and the rationality of design. The working condition of the bridge is good since opened on December 26, 2014.</p>
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Allaf-Akbari, Amir, A. Gordon L. Holloway, and Joseph Hall. "The Effect of Longitudinal Core Flow on Trailing Vortex Stability." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-38522.

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The current experimental study investigates the effect of longitudinal core flow on the formation and structure of a trailing vortex. The vortex is generated using four airfoils connected to a central hub through which a jet flow is added to the vortex core. Time averaged vorticity, circumferential velocity, and turbulent kinetic energy are studied. The statistics of vortex wandering are identified and corrections applied to the vorticity distribution. The vortex generator used in this study was built on the basis of the design described by Beninati et al. [1]. It uses four NACA0012 airfoils connected to a central hub. The wings orientation can be adjusted such that each contributes to a strong trailing vortex on the center of the test section. The vortex generator also had the capability to deliver an air jet directed longitudinally through a hole in the hub at the joint of the airfoils. Tests were done without the jet and with the air jet at jet velocities of 10 and 20 m/s. Planar PIV was used to measure the velocity field in the vicinity of the vortex core. The measurements were taken at 3 chords behind the vortex generator.
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Vlasic, E. P., S. Girgis, and S. H. Moustapha. "The Design and Performance of a High Work Research Turbine." In ASME 1995 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/95-gt-233.

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This paper describes the design and performance of a high work single stage research turbine with a pressure ratio of 5.0, a stage loading of 2.2 and cooled stator and rotor. Tests were carried out in a cold flow rig and as part of a gas generator facility. The performance of the turbine was assessed, through measurements of reaction, rotor exit conditions and efficiency, with and without airfoil cooling. The measured cooled efficiency in the cold rig was 79.9%, which, after correcting for temperature and measuring plane location, matched reasonably well the efficiency of 81.5% in the gas generator test. The effect of cooling, as measured in the cold rig, was to reduce the turbine efficiency by 2.1%. A part load turbine map was obtained at 100, 110 and 118% design speed and at 3.9, 5.0 and 6.0 pressure ratio. The influence of speed and the limit load pattern for transonic turbines are discussed. The effect of the downstream measuring distance on the calculated efficiency was determined using three different locations. An efficiency drop of 3.2% was measured between the rotor trailing edge plane and a distance four chords downstream.
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Kamonsantiroj, Suwatchai, Lita Wannatrong, and Luepol Pipanmaekaporn. "Improving Pitch Class Profile for Musical Chords Recognition Combining Major Chord Filters and Convolution Neural Networks." In 2017 6th IIAI International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2017. http://dx.doi.org/10.1109/iiai-aai.2017.37.

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Keaton, Jeffrey R., and Richard W. Gailing. "Monitoring Slope Deformation With Quadrilaterals for Pipeline Risk Management." In 2004 International Pipeline Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ipc2004-0197.

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Ground displacements, strains, and tilts can be calculated by repeated measurements of the lengths of six chords and relative elevations of an array of four points, known as a quadrilateral. Quadrilateral measurements allow ground-surface deformation and strain to be calculated. Typically, soil-pipeline interaction results in pipeline strain being less than ground strain. Strain gauges traditionally have been used on pipelines in landslide areas to aid in managing pipeline risk. Quadrilaterals may be economical alternatives to placing strain gauges on existing pipelines in areas of active or potential slope movements. A threshold ground deformation or strain is used to trigger more expensive means of evaluating pipeline integrity. Quadrilaterals are relatively inexpensive to install, but must be carefully located and founded deep enough to avoid seasonal shrink-swell effects of the soil. Measurements must be taken with precise instruments (tape extensometer) so that small changes can be detected with acceptable errors. Three contiguous quadrilaterals were installed in Spring 2003 in a landslide-prone area of southern California to aid in monitoring a slope between the main scarp of a recently active landslide and a pipeline bridge foundation. Engineering geologic evaluation supported a conclusion that the rate of headward crest advancement would be slow, but a method of detecting and quantifying slope deformation was needed for operational risk management.
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Ali, Alonso, and Orlando Lee. "A new sufficient condition for the existence of 3-kernels." In Encontro de Teoria da Computação. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/etc.2020.11083.

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Let D be a digraph and k be a positive integer. We say a subset N of V(D) is a k-kernel of D if it is both k-independent and (k − 1)-absorbent. A short chord of a closed trail C = (v0, v1, . . . , vt) is an arc a = (vi, vj) which does not belong to C and the distance from vi to vj in C is exactly two. The spacing between two chords e = (u, v) and f = (x, y) in C is the distance from u to x in C. A set of chords in a closed trail C has an odd spacing if at least two chords have an odd spacing. In this work, we prove that if D is a strongly connected digraph where every odd cycle has a short chord and every even closed trail has three short chords with an odd spacing, then D has a 3-kernel.
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Almada, Carlos, João Penchel, Igor Chagas, Max Kühn, Claudia Usai, Eduardo Cabral, Vinicius Braga, and Ana Miccolis. "J-Analyzer: A Software for Computer-Assisted Analysis of Antônio Carlos Jobims Songs." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10416.

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The present paper describes structure and functioning of J-Analyzer, a computational tool for assistedanalysis. It integrates a research project intended to investigate the complete song collection by Brazilian composer Antônio Carlos Jobim, focusing on the aspect of harmonic transformation. The program is used to determine the nature of transformational relations between any chordal pair of chords present in a song, as well as the structure of the chords themselves.
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Chanson, Hubert, Shin-Ichi Aoki, and Ashabul Hoque. "Similitude of Air Entrainment at Vertical Circular Plunging Jets." In ASME 2002 Joint U.S.-European Fluids Engineering Division Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/fedsm2002-31024.

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Air bubble entrainment at plunging jet takes place when the jet impact velocity exceeds a critical velocity function of the inflow conditions. This study investigates scale effects affecting air entrainment and bubble dispersion at vertical circular plunging jets. Three scale models were used and detailed air-water measurements were performed systematically for identical Froude numbers. The results highlight significant scale effects when We1 &lt; 1E+3 or V1/ur &lt; 10. Bubble chord times were also measured and presented in terms of pseudo-bubble chord length which was found to overestimate real bubble chords by 10 to 30%. The data show pseudo-bubble chord sizes ranging from less than 0.5 mm to more than 10 mm. The average pseudo-chord sizes were between 5 and 7 mm.
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Degani, Alessio, Marco Dalai, Riccardo Leonardi, and Pierangelo Migliorati. "Harmonic Change Detection for musical chords segmentation." In 2015 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2015. http://dx.doi.org/10.1109/icme.2015.7177404.

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Reports on the topic "Four chords"

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Langworthy, James B. The Chord Distribution for a Right Circular Cylinder. Fort Belvoir, VA: Defense Technical Information Center, July 1988. http://dx.doi.org/10.21236/ada198002.

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Agelastos, Anthony Michael, Joel O. Stevenson, Stephen W. Attaway, and David Peterson. Preliminary Assessment of Tecplot Chorus for Analyzing Ensemble of CTH Simulations. Office of Scientific and Technical Information (OSTI), April 2015. http://dx.doi.org/10.2172/1177760.

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Augustine, David B. Chokes For Leak Testing High Pressure Systems. Office of Scientific and Technical Information (OSTI), April 2014. http://dx.doi.org/10.2172/1480096.

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Moehle, Jack P., John D. Hooper, and Thomas R. Meyer. Seismic design of cast-in-place concrete diaphragms, chords, and collectors: a guide for practicing engineers second edition. Gaithersburg, MD: National Institute of Standards and Technology, October 2016. http://dx.doi.org/10.6028/nist.gcr.16-917-42.

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T.J. Donovan, T.M. Sutton, and Y. Danon. Implementation of Chord Length Sampling for Transport Through a Binary Stochastic Mixture. Office of Scientific and Technical Information (OSTI), November 2002. http://dx.doi.org/10.2172/820722.

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Peyton, B. W., A. Pothen, and Xiaoqing Yuan. Partitioning a chordal graph into transitive subgraphs for parallel sparse triangular solution. Office of Scientific and Technical Information (OSTI), December 1992. http://dx.doi.org/10.2172/6783411.

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Peyton, B. W., A. Pothen, and Xiaoqing Yuan. Partitioning a chordal graph into transitive subgraphs for parallel sparse triangular solution. Office of Scientific and Technical Information (OSTI), December 1992. http://dx.doi.org/10.2172/10121667.

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Pawel, S. J., K. T. Ziehlke, and C. J. Swindeman. Preliminary investigation of steel compatibility with potential materials of construction for UF6 cylinder chocks. Office of Scientific and Technical Information (OSTI), December 1992. http://dx.doi.org/10.2172/45525.

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Kapp, J. A. Wide Range Stress Intensity Factor and Crack-Mouth-Opening Displacement Expressions Suitable for Short Crack Fracture Testing with Arc Bend-Chord Suppport Samples. Fort Belvoir, VA: Defense Technical Information Center, January 1990. http://dx.doi.org/10.21236/ada218395.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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