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1
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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Janajreh, Isam, Ilham Talab, and Jill Macpherson. "Numerical Simulation of Tower Rotor Interaction for Downwind Wind Turbine." Modelling and Simulation in Engineering 2010 (2010): 1–11. http://dx.doi.org/10.1155/2010/860814.
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Downwind wind turbines have lower upwind rotor misalignment, and thus lower turning moment and self-steered advantage over the upwind configuration. In this paper, numerical simulation to the downwind turbine is conducted to investigate the interaction between the tower and the blade during the intrinsic passage of the rotor in the wake of the tower. The moving rotor has been accounted for via ALE formulation of the incompressible, unsteady, turbulent Navier-Stokes equations. The localizedCP,CL, andCDare computed and compared to undisturbed flow evaluated by Panel method. The time history of theCP, aerodynamic forces (CLandCD), as well as moments were evaluated for three cross-sectional tower; asymmetrical airfoil (NACA0012) having four times the rotor's chord length, and two circular cross-sections having four and two chords lengths of the rotor's chord. 5%, 17%, and 57% reductions of the aerodynamic lift forces during the blade passage in the wake of the symmetrical airfoil tower, small circular cross-section tower and large circular cross-section tower were observed, respectively. The pronounced reduction, however, is confined to a short time/distance of three rotor chords. A net forward impulsive force is also observed on the tower due to the high speed rotor motion.
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ITZKOVITZ, SHALEV, RON MILO, NADAV KASHTAN, REUVEN LEVITT, AMIR LAHAV, and URI ALON. "RECURRING HARMONIC WALKS AND NETWORK MOTIFS IN WESTERN MUSIC." Advances in Complex Systems 09, no. 01n02 (March 2006): 121–32. http://dx.doi.org/10.1142/s021952590600063x.
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Western harmony is comprised of sequences of chords, which obey grammatical rules. It is of interest to develop a compact representation of the harmonic movement of chord sequences. Here, we apply an approach from analysis of complex networks, known as "network motifs" to define repeating dynamical patterns in musical harmony. We describe each piece as a graph, where the nodes are chords and the directed edges connect chords which occur consecutively in the piece. We detect several patterns, each of which is a walk on this graph, which recur in diverse musical pieces from the Baroque to modern-day popular music. These patterns include cycles of three or four nodes, with up to two mutual edges (edges that point in both directions). Cliques and patterns with more than two mutual edges are rare. Some of these universal patterns of harmony are well known and correspond to basic principles of music theory such as hierarchy and directionality. This approach can be extended to search for recurring patterns in other musical components and to study other dynamical systems that can be represented as walks on graphs.
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Goldenberg, Yosef. "Cadential and Quasi-Cadential Six-Four Chords at Boundary Points." Music Theory and Analysis (MTA) 4, no. 1 (April 30, 2017): 40–61. http://dx.doi.org/10.11116/mta.4.1.2.
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Molyakov, V. D., and B. A. Kunikeev. "Using the Similarity Theory in the Design of Gas Turbine Engines." Proceedings of Higher Educational Institutions. Маchine Building, no. 6 (735) (June 2021): 48–57. http://dx.doi.org/10.18698/0536-1044-2021-6-48-57.
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At present, in the promising development of gas turbine engines compared to at least the fourth generation products, there have been significant changes in the approaches to the design of engine. First of all, it is an increase in maximum values of temperature, gas pressure and circumferential flow speeds, an increase in power of the turbine stage, as well as improvement of the turbine manufacturing technology. All these factors lead to the fact that when designing the flow parts of the gas turbine, it is necessary at the fixed design flow rate of the working medium in the engine, i.e. at the fixed diameters, lengths of the nozzle and rotor blades forming the outline of the inter-blade channels, to increase the blade chords with the corresponding reduction of the number of blades in the row. The increase in turbine stage power associated with the increase in temperature, pressure (density), and circumferential velocity increases the bending stresses leading to the need to increase chords at a fixed blade length. Significant reduction of number of blades in stages, simplifies technology of blades manufacturing. A substantial increase in the maximum gas temperature, in the perspective of more than 2000 K, also leads to the need to increase the blade chords, due to the need to place cooling cavities in the blades. As a result, contradictions arise with the use of similarity theory in the design of stages of turbines of different purpose, as some of the main requirements of similarity are violated — geometric similarity of blade channels of the flow part and then the use of the generally accepted number Re by the chord of blades loses meaning. Therefore, it is necessary to carry out detailed investigations of all flow parameters in four stages of turbines with detection of influence of change of rotor blade chords at equal length of blades. And justify the effect of change of rotor blade chords on physical processes in flow parts of turbines in engines of various purpose.
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Liang, Jiong, and Mei Xin Ye. "Behavior of Four-Line High-Speed Railway Bridge with Two Main Trusses and K-Shaped Brace." Advanced Materials Research 163-167 (December 2010): 148–52. http://dx.doi.org/10.4028/www.scientific.net/amr.163-167.148.
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Taking Jinan Yellow River Bridge as an example, using 3D finite element method, displacement and behavior of four-line high-speed railway bridge with two main trusses, K-shaped brace and middle suspender is studied. The results show that transversal wave of displacement of floor system is significant, and the difference of the displacement in transversal direction reaches 6 mm. The causes includes: large distance between two main trusses, large stiffness of stringers, longitudinal stiffeners and crossbeams, weak transversal stiffeners which do not connect to lower chords. About 90% of the loads are transferred to the crossbeam through path 1 and about 60% to 80% of these loads through K-shaped braces. Less than 10% of the loads transferred to lower chords through path 2.
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Guerrero-Turrubiates, Jesus, Sergio Ledesma, Sheila Gonzalez-Reyna, and Gabriel Avina-Cervantes. "Guitar Chords Classification Using Uncertainty Measurements of Frequency Bins." Mathematical Problems in Engineering 2015 (2015): 1–9. http://dx.doi.org/10.1155/2015/205369.
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This paper presents a method to perform chord classification from recorded audio. The signal harmonics are obtained by using the Fast Fourier Transform, and timbral information is suppressed by spectral whitening. A multiple fundamental frequency estimation of whitened data is achieved by adding attenuated harmonics by a weighting function. This paper proposes a method that performs feature selection by using a thresholding of the uncertainty of all frequency bins. Those measurements under the threshold are removed from the signal in the frequency domain. This allows a reduction of 95.53% of the signal characteristics, and the other 4.47% of frequency bins are used as enhanced information for the classifier. An Artificial Neural Network was utilized to classify four types of chords: major, minor, major 7th, and minor 7th. Those, played in the twelve musical notes, give a total of 48 different chords. Two reference methods (based on Hidden Markov Models) were compared with the method proposed in this paper by having the same database for the evaluation test. In most of the performed tests, the proposed method achieved a reasonably high performance, with an accuracy of 93%.
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ARYUTHAKA, CHITTIMA, and KENJI KITO. "Two new species of the genus Daptonema Cobb, 1920 (Nematoda: Xyalidae) found in the monospecific Halophila ovalis patches within an intertidal mixed-species seagrass bed on the coast of the Andaman Sea, Thailand." Zootaxa 3350, no. 1 (June 19, 2012): 34. http://dx.doi.org/10.11646/zootaxa.3350.1.2.
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Daptonema hyalocella sp. n. and D. setihyalocella sp. n. are described from the Ban Pa Khlok seagrass bed, Phuket Prov-ince, Thailand. These new species are characterized by the epidermal chords consisting of large cells with a transparentappearance, as in D. conicum (Filipjev, 1922) and D. trabeculosum (G. Schneider, 1906). The key characteristics of D.hyalocella sp. n. are the peculiar epidermal chords, loose S-shaped spicules with no proximal cephalation, an indistinctgubernaculum with a lateral piece, and two terminal setae. For D. setihyalocella sp. n., the key characteristics are similarpeculiar epidermal chords, but in this case with the L-shaped spicules having proximal cephalation, a distinct gubernaculum with dorsal apophysis and lateral piece, and four terminal setae.
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Johnson-Laird, Phil N., Olivia E. Kang, and Yuan Chang Leong. "On Musical Dissonance." Music Perception 30, no. 1 (September 1, 2012): 19–35. http://dx.doi.org/10.1525/mp.2012.30.1.19.
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psychoacoustic theories of dissonance often follow Helmholtz and attribute it to partials (fundamental frequencies or overtones) near enough in frequency to affect the same region of the basilar membrane and therefore to cause roughness, i.e., rapid beating. In contrast, tonal theories attribute dissonance to violations of harmonic principles embodied in Western music. We propose a dual-process theory that embeds roughness within tonal principles. The theory predicts the robust increasing trend in the dissonance of triads: major < minor < diminished < augmented. Previous experiments used too few chords for a comprehensive test of the theory, and so Experiment 1 examined the rated dissonance of all 55 possible three-note chords, and Experiment 2 examined a representative sample of 48 of the possible four-note chords. The participants' ratings concurred reliably and corroborated the dual-process theory. Experiment 3 showed that, as the theory predicts, consonant chords are rated as less dissonant when they occur in a tonal sequence (the cycle of fifths) than in a random sequence, whereas this manipulation has no reliable effect on dissonant chords outside common musical practice.
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Stoia, Nicholas. "Triple Counterpoint and Six-Four Chords in Bach's Sinfonia in F Minor." Music Analysis 34, no. 3 (April 22, 2015): 305–34. http://dx.doi.org/10.1111/musa.12041.
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Tousignant, Kyle, and Jeffrey A. Packer. "Analysis of rectangular hollow section trusses." Canadian Journal of Civil Engineering 46, no. 3 (March 2019): 160–75. http://dx.doi.org/10.1139/cjce-2018-0105.
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A database of 26 previous full-scale experiments on rectangular hollow section (RHS) trusses is supplemented by nine tests on a 10-metre-span, simply supported, RHS Warren truss, reported herein. Measured axial forces, bending moments and truss deflections are compared to four 2D, elastic, frame-analysis models consisting of: (i) all joints pinned and concentric; (ii) all joints rigid and concentric; (iii) pin-ended webs connected eccentrically to continuous chords; and (iv) rigid-ended webs connected eccentrically to continuous chords. On average, all four models predict sufficiently accurate axial force distributions and deflections under elastic loading. However, all four models under-predict bending moment magnitudes. Implications for RHS truss analysis according to the “detailed method” of CSA S16-14 are discussed, and recommendations for modelling are made.
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Egmond, Renéévan, and Mila Boswijk. "The Perception of Key: The Role of Music Training." Music Perception 25, no. 1 (September 1, 2007): 31–42. http://dx.doi.org/10.1525/mp.2007.25.1.31.
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IN TWO STUDIES, THE ROLE OF MUSIC TRAINING in a tonic identification task was investigated. First,listeners had to indicate the tonic of twenty excerpts from music recordings. Very low associations between proportion correct and music training were found. Based on this proportion correct, listeners were classified into four groups that did not differ in music training. Second,listeners had to produce the tonic for different variants ofthe major, minor, diminished triads, and the dominant 7th chord. The choice of a tonic—and the proportion correct—was dependent on the chord type and the order of the pitches. Especially for listeners that had low scores on the excerpts, the effect of order was larger for chords containing a tritone. In addition, the results indicated that the level of music training was not a suitable predictor of the aptitude of tonic identification.
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Baláž, Ivan, Yvonna Koleková, and Lýdia Moroczová. "Built-up CFS column with lacings and battens." MATEC Web of Conferences 310 (2020): 00025. http://dx.doi.org/10.1051/matecconf/202031000025.
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The built-up columns are generally used in industrial buildings, either as posts for cladding when their buckling length is very long, or as columns supporting a crane girder. The built-up columns are composed usually of two parallel chords interconnected by lacings or battens. In the paper the special type of built-up column will be analysed from Llentab Company. It consists from four parallel chords with cold-formed C cross-sections which are interconnected by lacing in one plane and by battens in four perpendicular planes. Such types of columns are especially convenient for the relatively high light steel halls. Analysis of the behaviour of such column will be performed: a) on the model with smeared equivalent bending and shear stiffness’s using analytical solution, b) on the discrete model using FEM and commercial program ANSYS. The theory of the second order taking into account the initial imperfections and the shear deformations will be employed.
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Juozapaitis, Algirdas, Donatas Jatulis, and Antanas Šapalas. "DESIGN AND ANALYSIS OF COMBINED PLANE STEEL GUYED TOWER-MAST." Engineering Structures and Technologies 1, no. 4 (December 31, 2009): 157–65. http://dx.doi.org/10.3846/skt.2009.19.
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One of the most effective and widely used high-rise telecommunication structures are steel towers and guyed masts. The behaviour, analysis and application fields are exhaustively discussed in a number of scientific publications. The main advantages of tower structures are low building area, however, from the point of view of steel consumptions, such structures are not effective enough. For technical-economic efficiency not only the rational types of cross sections for typical mast elements are selected, but also various combined structural systems are developed and implemented. Flat tower-masts are also known. They are combined from a single plain truss supported out of its plane by guys. In this case, such mixed system is able to carry acting loads and actions in one direction like a tower and in other direction – like a mast. From a technicaleconomic point of view, such system stands in the intermediate position between the guyed mast and the tower. The major weakness of such framework is relatively great depth and the cross sectional area of the chords of the tower truss which is caused by the relatively high values of the bending moment in the chord acting in the plane of guys and the large buckling length of the chord out of truss plane. It must be stressed that wind action on the investigated structure directly depends on the dimensions of the chord cross section. This paper deals with the new combined plain tower-mast structure the chords of which out of plane are stiffened by and inserted between the guys connecting joints and the double-sided strut members. These members are pre-stressed to avoid compression induced by transverse loading. The analysis of the behavior of a separate strut system under transversal loading is performed and analytical expressions for determining internal forces and displacements in its members with and without pre-stressing are provided. The minimum values of the required pre-stressing in ties of the strut system are described. It is proved that a proper choice of the parameters of structural components gives a possibility of obtaining a favorable distribution of bending moments in the chord. On the basis of numerical experiments, a comparison between the results defined analytically and ones determined by the means of the Autodesk Robot Structural Analysis program is performed. The accuracy of the proposed analytical method is discussed. For defining the behaviour peculiarities of the new combined structural system and for estimating its technical-economic efficiency, the numerical experiment by the means of FEM program (Autodesk Robot Structural Analysis) was carried out. Analysis was performed using 98 meter high ordinary and new guyed tower-mast structures with guys fixed at four levels. The member sections of the analyzed structures designed according to the values of the defined acting internal forces are presented. It is estimated that using strut members helps in considerably reducing (about 4,8 times) the maximum values of bending moments in the chords of tower truss. It was estimated that depth between the chords in a new combined system was 2 times lesser than that in the ordinary tower – mast system. It is shown that in case of the same cross section and value of the pre-stressing force, the value of the vertical reaction of the new strutted tower-mast system on foundation was 1,65 time lesser than that in the ordinary system. Conclusions and recommendations are provided.
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Kambites, Mark. "On commuting elements and embeddings of graph groups and monoids." Proceedings of the Edinburgh Mathematical Society 52, no. 1 (February 2009): 155–70. http://dx.doi.org/10.1017/s0013091507000119.
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AbstractWe study commutation properties of subsets of right-angled Artin groups and trace monoids. We show that if Γ is any graph not containing a four-cycle without chords, then the group G(Γ) does not contain four elements whose commutation graph is a four-cycle; a consequence is that G(Γ) does not have a subgroup isomorphic to a direct product of non-abelian groups. We also obtain corresponding and more general results in the monoid case.
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Wipf, Terry J., Michael A. Ritter, and Douglas L. Wood. "Evaluation and Field Load Testing of Timber Railroad Bridge." Transportation Research Record: Journal of the Transportation Research Board 1696, no. 1 (January 2000): 323–33. http://dx.doi.org/10.3141/1696-34.
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Several spans of a 60-year-old open-deck timber railroad bridge on the Southern Pacific Railroad Line (now the Union Pacific) in Southwest Texas were field tested. The tests were conducted with the sponsorship and cooperation of the Association of American Railroads to determine the vertical live load distribution characteristics of the superstructure. The bridge was originally constructed with Douglas-fir larch solid sawn stringers but was rehabilitated on several occasions to allow comparisons to be made with respect to different rehabilitation options, including the use of a helper stringer and the use of glued laminated timber (glulam) stringers. The test spans measured approximately 4.1 m (13.5 ft) center-to-center of supports and included two closely “packed” chords, each consisting of four timber stringers (one test span included an additional helper stringer added to one chord). One chord was made up of glulam timber and the other was made up of solid sawn timber. The bridge superstructure was generally in satisfactory condition, with some stringer horizontal splitting noted over the bents. The bents were in reasonably good condition, but chord bearing was uneven on bent caps. Static and dynamic deflection load test data were obtained using a special test train. The test results indicate that the glulam chord performed better than the older sawn stringer chord, even when a helper stringer was added. Individual stringers within a chord did not always share the load equally.
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Byambatsogt, Gerelmaa, Lodoiravsal Choimaa, and Gou Koutaki. "Guitar Chord Sensing and Recognition Using Multi-Task Learning and Physical Data Augmentation with Robotics." Sensors 20, no. 21 (October 26, 2020): 6077. http://dx.doi.org/10.3390/s20216077.
Full textAbstract:
In recent years, many researchers have shown increasing interest in music information retrieval (MIR) applications, with automatic chord recognition being one of the popular tasks. Many studies have achieved/demonstrated considerable improvement using deep learning based models in automatic chord recognition problems. However, most of the existing models have focused on simple chord recognition, which classifies the root note with the major, minor, and seventh chords. Furthermore, in learning-based recognition, it is critical to collect high-quality and large amounts of training data to achieve the desired performance. In this paper, we present a multi-task learning (MTL) model for a guitar chord recognition task, where the model is trained using a relatively large-vocabulary guitar chord dataset. To solve data scarcity issues, a physical data augmentation method that directly records the chord dataset from a robotic performer is employed. Deep learning based MTL is proposed to improve the performance of automatic chord recognition with the proposed physical data augmentation dataset. The proposed MTL model is compared with four baseline models and its corresponding single-task learning model using two types of datasets, including a human dataset and a human combined with the augmented dataset. The proposed methods outperform the baseline models, and the results show that most scores of the proposed multi-task learning model are better than those of the corresponding single-task learning model. The experimental results demonstrate that physical data augmentation is an effective method for increasing the dataset size for guitar chord recognition tasks.
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Thompson, William F., and Lola L. Cuddy. "Perceived Key Movement in Four-Voice Harmony and Single Voices." Music Perception 9, no. 4 (1992): 427–38. http://dx.doi.org/10.2307/40285563.
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Listeners with a moderate amount of musical training rated the distance between the first and final key of short chorale excerpts under one of four presentation conditions. The distance between keys, or modulation distance, was either zero, one, or two steps in either the clockwise or counterclockwise direction on the cycle of fifths. Presentation conditions were four-voice harmonic sequences excerpted from the complete set of Bach chorales, single voices of the latter sequences, four-voice harmonic sequences simplified to block chords, and single voices of the latter sequences. Consistent with earlier findings (Thompson & Cuddy, 1989), judgments for both four- voice harmonic presentations and single-voice presentations revealed a close correspondence between modulation distance and judged distance. Ratings for harmonic sequences within a given key distance, however, showed influences of direction of modulation and of harmonic progression that were not reflected in ratings for single voices. The findings suggest that harmony and melody follow somewhat different principles in the process of identifying key change.
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Wujun, Chen, Fu Gongyi, Gong Jinghai, He Yanli, and Dong Shilin. "A New Design Conception for Large Span Deployable Flat Grid Structures." International Journal of Space Structures 17, no. 4 (December 2002): 293–99. http://dx.doi.org/10.1260/026635102321049556.
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The deployable flat grids, consisting of only hinged pantographic units, usually have low structural stiffness, and the bending moment constitutes a great part of internal forces. This results in structural inefficiency, especially for large span grids. Diagonals (web struts) and lower chords are added herein to enhance the structural stiffness. The newly added web struts must be compatible with the deployable geometry. Cables or foldable bars can be used as lower chords. The statical determinacy characteristics are analysed for the newly proposed grid system. On the basis of this concept, several flat grids are firstly developed for potential applications. And a joint conception also developed. The structural performances are investigated for a series of deployable flat grids. Steel quantities and deflections are compared for four different grids. The results indicate that the newly proposed conception has fairly high economic scale, structural efficiency and promising potential application field.
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Zhou, Chun Li, Ru Yang, and Xue Ying Tang. "Finite Element Analysis of Prestressed Concrete-Filled Square Steel Tube Truss." Advanced Materials Research 838-841 (November 2013): 510–13. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.510.
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Prestressed concrete-filled square steel tube truss is the kind of truss whose upper chords and lower chords are respectively concrete-filled square steel tube and prestressed square steel tube. Four truss models as square steel tube truss, concrete-filled square steel tube truss, prestressed square steel tube truss and prestressed concrete-filled square steel tube truss were analysed by ANSYS, each of those truss models’ span has three variations. The result shows that the bar sections’ strength of square steel tube truss and concrete-filled square steel tube truss are far from reaching their design strength when the allowable values of deflection has reachedl//400. Unlike the cases described above, when the bar sections’ strength of prestressed square steel tube truss and prestressed concrete-filled square steel tube truss has reached their design strength, their load-bearing capacity is 1 or 1.5 times higher than those cases above and their deflection has not reached the allowable values.
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Jimenez, Ivan, Tuire Kuusi, and Christopher Doll. "Common Chord Progressions and Feelings of Remembering." Music & Science 3 (January 1, 2020): 205920432091684. http://dx.doi.org/10.1177/2059204320916849.
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Although Western tonal syntax can generate a very large number of chord successions of various lengths and degrees of complexity, some types of music, from Renaissance dances to recent pop, tend to rely more heavily on the repetition of relatively simple, short harmonic patterns. Doll recently identified short chord progressions commonly found in North American and British popular music and proposed that these chord progressions can be stored in long-term memory in the form of harmonic schemata that allow listeners to hear them as stereotypical chord progressions. However, considering the challenges that many listeners face when trying to consciously grasp harmony, it seems likely that the feelings of remembering chord progressions varies from listener to listener. To investigate these potential differences, we asked 231 listeners with various levels of musical training to rate their confidence on whether or not they had previously heard six diatonic four-chord progressions. To control for the effect of extra-harmonic features, we instantiated the chord progressions in a way that resembled the piano of a famous song and controlled for participants’ familiarity with that song and whether they had played its chords. We found that ratings correlated with typicality for the two groups of participants who had played an instrument for at least one year and to a lesser extent for the other participants. Additionally, all our players thought of specific songs more often and mentioned songs that better matched the stimuli in harmonic terms. What we did not find, however, was any effect associated to how long participants had played an instrument or the type of the instrument they had played. Our research supports the notion that both musical training and extra-harmonic features affect listeners’ feelings of remembering chord progressions.
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Durán, Guillermo, Agustín Gravano, Marina Groshaus, Fábio Protti, and Jayme L. Szwarcfiter. "On a conjecture concerning helly circle graphs." Pesquisa Operacional 23, no. 1 (January 2003): 221–29. http://dx.doi.org/10.1590/s0101-74382003000100016.
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We say that G is an e-circle graph if there is a bijection between its vertices and straight lines on the cartesian plane such that two vertices are adjacent in G if and only if the corresponding lines intersect inside the circle of radius one. This definition suggests a method for deciding whether a given graph G is an e-circle graph, by constructing a convenient system S of equations and inequations which represents the structure of G, in such a way that G is an e-circle graph if and only if S has a solution. In fact, e-circle graphs are exactly the circle graphs (intersection graphs of chords in a circle), and thus this method provides an analytic way for recognizing circle graphs. A graph G is a Helly circle graph if G is a circle graph and there exists a model of G by chords such that every three pairwise intersecting chords intersect at the same point. A conjecture by Durán (2000) states that G is a Helly circle graph if and only if G is a circle graph and contains no induced diamonds (a diamond is a graph formed by four vertices and five edges). Many unsuccessful efforts - mainly based on combinatorial and geometrical approaches - have been done in order to validate this conjecture. In this work, we utilize the ideas behind the definition of e-circle graphs and restate this conjecture in terms of an equivalence between two systems of equations and inequations, providing a new, analytic tool to deal with it.
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Keenan, F. J., M. M. Lepper, A. T. Quaile, and E. N. Aplin. "Behaviour of truss plate and metal web joints in machine-stress-rated lumber trusses." Canadian Journal of Civil Engineering 12, no. 3 (September 1, 1985): 700–716. http://dx.doi.org/10.1139/l85-076.
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In project A, 1500 pieces of 38 × 89 mm spruce–pine–fir lumber from three mills, in two machine-stress-rated (MSR) grades, 1650f–1.5E and 2100f–1.8E, were proof-loaded to obtain the mean modulus of elasticity, the fifth percentile modulus of elasticity, and the fifth percentile modulus of rupture. Relative density was measured for each piece, and values of the 33.3 and 52.3 percentiles of the relative density ranges were determined for each species/grade category and related to the minimum values stipulated by the National Lumber Grades Authority (NLGA) Special Product Standard SPS-2-82 for machine-stress-rated lumber. The values of relative density at the 33.3 and 52.3 percentiles that will cause the NLGA mean modulus of elasticity MOE (mean), criterion to be just barely satisfied were estimated.In project B, the lateral resistances of 480 truss plate joints were determined. The variables were two common types of truss plates (thicknesses of 0.91 mm and 1.5 mm) in two grades of MSR lumber (1650f–1.5E and 2100f–1.8E) subdivided into two species groups (pine alone and spruce–fir combined), tested at four orientations of load to grain and load to plate axis. These tests showed that, in most cases, an increase in the design capacity of truss plates in MSR lumber over the values now used for spruce–pine–fir lumber is justified.In project C, 30 commercially designed metal web floor trusses of three span/depth combinations were tested to determine their stiffnesses and strengths. Trusses with 2100f grade lumber in the chords were stiffer than the trusses with 1650f chords. In both grades, larger trusses are relatively less stiff than smaller trusses. With respect to strength, the results indicate that higher design values may be used with higher grades of MSR lumber provided that design is governed by either tooth withdrawal at the joints or by chord strength. An improved analytical model, taking into account four distinct failure modes, is required for the behaviour of floor trusses. Key words: machine-stress-rated lumber, truss plates, trusses, metal webs, strength, density.
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Molyakov, V. D., B. A. Kunikeev, and N. I. Troitskiy. "Analysis of Physical Processes in the Flow Parts of Gas Turbines with Different Blade Chords." Proceedings of Higher Educational Institutions. Маchine Building, no. 7 (736) (July 2021): 40–53. http://dx.doi.org/10.18698/0536-1044-2021-7-40-53.
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Theoretical and experimental studies of the current flowing in the lattices of the turbine stage impeller with a change in the elongation of its blades at constant constraining diameters of the flow part (constant blade lengths) are carried out. Four single-stage turbines with different chords of rotor blades and their relative elongations have been investigated. To explain the nature of the integral characteristics of the turbine stage with a change in the relative elongation of the rotor blades, detailed studies of the spatial flow structure in the gap between wheels and behind the impeller were carried out. The peculiarity of the operation of four impellers in the turbine stage is shown when the geometry of the channels changes along the height of the flow path - from active at the root to highly reactive at the periphery. A characteristic redistribution of the local values of the efficiency and losses along the height of the lattices associated with a change in the elongation of the rotor blades and the rotation of the lattices has been revealed. It was found that with a decrease in the elongation of the rotor blades, the zone with the minimum efficiency moves from the root sections to the peripheral ones with its simultaneous restructuring and an increase in the minimum efficiency in this zone. In this case, the integral values of the efficiency of impellers with different relative elongations of the blades remain the same and sufficiently high.
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Monforton, Gerard R., Murray C. Temple, and Gerhard W. H. Wolf. "An experimental and theoretical evaluation of a floor truss system." Canadian Journal of Civil Engineering 20, no. 3 (June 1, 1993): 407–21. http://dx.doi.org/10.1139/l93-056.
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Floor joists consisting of 38 × 89 mm top and bottom chords connected by galvanized steel V webs are often used in the construction of low-rise buildings where long spans are required. An experimental and theoretical program was undertaken to evaluate the performance of such joists when used in conjunction with plywood sheathing attached to the top chord to form a truss floor system. A finite-element analysis procedure for sandwich beams with faces of unequal thickness was adapted in order to predict the load-deflection curves of full-scale floor systems. The experimental program involved the testing of double-block shear specimens to determine the modulus of rigidity of the core, shear specimens to evaluate the performance of the adhesive, and four floor sections to evaluate the performance of the floor system when subjected to uniformly distributed loads. The results indicate that a modulus of rigidity can be determined from the double-block shear specimens, the adhesive performed well under a variety of environmental conditions, the sand wich beam analysis can be used to predict the load-deflection curve of the truss floor system, and the floors performed well when subjected to uniformly distributed loads. Key words: adhesive, floors, floor joists, floor trusses, metal V webs, timber.
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Ortiz, J. L., P. Santos-Sanz, B. Sicardy, G. Benedetti-Rossi, R. Duffard, N. Morales, F. Braga-Ribas, et al. "The large trans-Neptunian object 2002 TC302 from combined stellar occultation, photometry, and astrometry data." Astronomy & Astrophysics 639 (July 2020): A134. http://dx.doi.org/10.1051/0004-6361/202038046.
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Context. Deriving physical properties of trans-Neptunian objects is important for the understanding of our Solar System. This requires observational efforts and the development of techniques suitable for these studies. Aims. Our aim is to characterize the large trans-Neptunian object (TNO) 2002 TC302. Methods. Stellar occultations offer unique opportunities to determine key physical properties of TNOs. On 28 January 2018, 2002 TC302 occulted a mv ~ 15.3 star with designation 593-005847 in the UCAC4 stellar catalog, corresponding to Gaia source 130957813463146112. Twelve positive occultation chords were obtained from Italy, France, Slovenia, and Switzerland. Also, four negative detections were obtained near the north and south limbs. This represents the best observed stellar occultation by a TNO other than Pluto in terms of the number of chords published thus far. From the 12 chords, an accurate elliptical fit to the instantaneous projection of the body can be obtained that is compatible with the near misses. Results. The resulting ellipse has major and minor axes of 543 ± 18 km and 460 ± 11 km, respectively, with a position angle of 3 ± 1 degrees for the minor axis. This information, combined with rotational light curves obtained with the 1.5 m telescope at Sierra Nevada Observatory and the 1.23 m telescope at Calar Alto observatory, allows us to derive possible three-dimensional shapes and density estimations for the body based on hydrostatic equilibrium assumptions. The effective diameter in equivalent area is around 84 km smaller than the radiometrically derived diameter using thermal data from Herschel and Spitzer Space Telescopes. This might indicate the existence of an unresolved satellite of up to ~300 km in diameter, which is required to account for all the thermal flux, although the occultation and thermal diameters are compatible within their error bars given the considerable uncertainty of the thermal results. The existence of a potential satellite also appears to be consistent with other ground-based data presented here. From the effective occultation diameter combined with absolute magnitude measurements we derive a geometric albedo of 0.147 ± 0.005, which would be somewhat smaller if 2002 TC302 has a satellite. The best occultation light curves do not show any signs of ring features or any signatures of a global atmosphere.
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FOO, SAY WEI, and EDWIN WEI THAI LEE. "APPLICATION OF FAST FILTER BANK FOR TRANSCRIPTION OF POLYPHONIC SIGNALS." Journal of Circuits, Systems and Computers 12, no. 05 (October 2003): 655–74. http://dx.doi.org/10.1142/s0218126603001082.
Full textAbstract:
In this paper, a novel approach to the transcription of polyphonic signals is investigated. The method makes use of top–down analysis algorithm and bottom–up reconstruction of frequency contents of musical signals using a reference database that contains the spectral profiles of all single notes. Recognition accuracy is enhanced by analyzing the time-frequency contents using a bank of narrow band filters with very sharp transition band. The filters are designed using the Frequency-Response Masking technique. The high selectivity of the filters has enhanced the frequency analysis and increased the accuracy of identification. The method was tested with musical notes generated from an acoustic piano. The results show that for single notes and chords up to four notes, perfect identification can be achieved.
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Eerola, Tuomas, and Imre Lahdelma. "The Anatomy of Consonance/Dissonance: Evaluating Acoustic and Cultural Predictors Across Multiple Datasets with Chords." Music & Science 4 (January 1, 2021): 205920432110304. http://dx.doi.org/10.1177/20592043211030471.
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Acoustic and musical components of consonance and dissonance perception have been recently identified. This study expands the range of predictors of consonance and dissonance by three analytical operations. In Experiment 1, we identify the underlying structure of a number of central predictors of consonance and dissonance extracted from an extensive dataset of chords using a hierarchical cluster analysis. Four feature categories are identified largely confirming the existing three categories (roughness, harmonicity, familiarity), including spectral envelope as an additional category separate from these. In Experiment 2, we evaluate the current model of consonance/dissonance by Harrison and Pearce by an analysis of three previously published datasets. We use linear mixed models to optimize the choice of predictors and offer a revised model. We also propose and assess a number of new predictors representing familiarity. In Experiment 3, the model by Harrison and Pearce and our revised model are evaluated with nine datasets that provide empirical mean ratings of consonance and dissonance. The results show good prediction rates for the Harrison and Pearce model (62%) and a still significantly better rate for the revised model (73%). In the revised model, the harmonicity predictor of Harrison and Pearce’s model is replaced by Stolzenburg’s model, and a familiarity predictor coded through a simplified classification of chords replaces the original corpus-based model. The inclusion of spectral envelope as a new category is a minor addition to account for the consonance/dissonance ratings. With respect to the anatomy of consonance/dissonance, we analyze the collinearity of the predictors, which is addressed by principal component analysis of all predictors in Experiment 3. This captures the harmonicity and roughness predictors into one component; overall, the three components account for 66% of the consonance/dissonance ratings, where the dominant variance explained comes from familiarity (46.2%), followed by roughness/harmonicity (19.3%).
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Sinha, Birendra K., and Thomas M. Nelson. "Transitivity of Thought in Schizophrenic, Brain Damaged and Alcoholic Patients." Imagination, Cognition and Personality 13, no. 1 (September 1993): 25–37. http://dx.doi.org/10.2190/gjk2-u08j-7mnu-ykcp.
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The nature of logical processing in schizophrenic thought disorder was studied through the transitivity paradigm. Amount of intransitivities present in the preference behavior of schizophrenic, brain damaged and two alcoholic groups compared to normals were determined using tasks that varied systematically along the dimension of verbal content. Four types of stimuli in order of decreasing verbal content employed in the study were: statements, named colors, unnamed colors, and musical chords. Schizophrenics were found to be lower overall in transitivity with differences between the schizophrenic and the normal groups increasing as verbal content increased in the stimuli. Differences between the schizophrenic and other groups were least when the preference task had the lowest verbal content. This suggests that the logical system of schizophrenics is not impaired equally for all contents of thought.
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Rowland, Dana. "Classification of book representations of K6." Journal of Knot Theory and Its Ramifications 26, no. 12 (October 2017): 1750075. http://dx.doi.org/10.1142/s0218216517500754.
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A book representation of a graph is a particular way of embedding a graph in three-dimensional space so that the vertices lie on a circle and the edges are chords on disjoint topological disks. We describe a set of operations on book representations that preserves ambient isotopy, and apply these operations to [Formula: see text], the complete graph with six vertices. We prove there are exactly 59 distinct book representations for [Formula: see text], and we identify the number and type of knotted and linked cycles in each representation. We show that book representations of [Formula: see text] contain between one and seven links, and up to nine knotted cycles. Furthermore, all links and cycles in a book representation of [Formula: see text] have crossing number at most four.
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Lin, Ziyong, André Werner, Ulman Lindenberger, Andreas M. Brandmaier, and Elisabeth Wenger. "Assessing Music Expertise." Music Perception 38, no. 4 (April 1, 2021): 406–21. http://dx.doi.org/10.1525/mp.2021.38.4.406.
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We introduce the Berlin Gehoerbildung Scale (BGS), a multidimensional assessment of music expertise in amateur musicians and music professionals. The BGS is informed by music theory and uses a variety of testing methods in the ear-training tradition, with items covering four different dimensions of music expertise: (1) intervals and scales, (2) dictation, (3) chords and cadences, and (4) complex listening. We validated the test in a sample of amateur musicians, aspiring professional musicians, and students attending a highly competitive music conservatory (n = 59). Using structural equation modeling, we compared two factor models: a unidimensional model postulating a single factor of music expertise; and a hierarchical model, according to which four first-order subscale factors load on a second-order factor of general music expertise. The hierarchical model showed better fit to the data than the unidimensional model, indicating that the four subscales capture reliable variance above and beyond the general factor of music expertise. There were reliable group differences on both the second-order general factor and the four subscales, with music students outperforming aspiring professionals and amateur musicians. We conclude that the BGS is an adequate measurement instrument for assessing individual differences in music expertise, especially at high levels of expertise.
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Akhtyamova, Leysan, Anton Chepurnenko, Marina Rozen, and Ebrahim Al-Wali. "Trihedral lattice towers geometry optimization." E3S Web of Conferences 281 (2021): 01024. http://dx.doi.org/10.1051/e3sconf/202128101024.
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The problem of trihedral lattice towers geometry optimization, the width of which varies linearly with height, has been considered. The variable parameters were the support width at the base and top point, as well as the cross-sectional areas of the lattice and chords. A restriction was introduced on the mass constancy. The objective function was the potential strain energy, the maximum displacement and the first frequency of natural vibrations. In the first and second cases the optimum corresponds to the minimum of the objective function, and in the third - to the maximum. The solution was performed by the finite element method in combination with four nonlinear optimization methods: the interior point method, surrogate optimization method, genetic algorithm and pattern search method. The efficiency of each of the listed optimization methods has been compared by the authors.
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Graubart, Michael. "PERENNIAL QUESTIONS." Tempo 57, no. 225 (July 2003): 32–36. http://dx.doi.org/10.1017/s0040298203000238.
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What are twelve-note rows really for?‘…I don't need to use serialism to…achieve a unity between the motifs’ says David Matthews in his interview with Mark Doran (Tempo, Vol. 57, No. 223, January 2003, p.11); and most composers would say the same. After all, the motifs and themes of the first movement of Schubert's Third Symphony are so integrated that even the accompanimental cliché of repeated quaver chords turns out to be motivic and the whole of the ‘Unfinished’ is based dialectically on the tonic and dominant versions of a single three-note motif and their sublation. And in his Ninth symphony, Beethoven manages to base not only themes but key-successions, too, on a basic group of four notes and finally even creates that shattering dissonance at the start of the finale out of a simultaneous sounding of its notes. Or is that already proto-serialism?
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Campbell, Laura. "Harmonic Landscaping Applied to the Study of Written Harmony." British Journal of Music Education 5, no. 3 (November 1988): 241–53. http://dx.doi.org/10.1017/s0265051700006653.
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Music examinations frequently require students to harmonise chorale melodies ‘in the style of J. S. Bach’, but the manner in which the skill is taught generally emphasises the adding of chords below the melody note by note ‘arithmetically’, and may thus fail to develop inner hearing and a sense of overall harmonic direction. Using the system of ‘harmonic sketching’ which she developed originally as an approach to keyboard harmony and described in detail in her book Sketching at the Keyboard, Laura Campbell extended the technique to the harmonisation of chorale melodies, in the process comparing her students' choices of outline harmony with those employed by Bach in four settings of the same chorale. In this article she describes the experiment and comments upon its results, showing how the ‘sketching’ method, which reveals the fundamental ‘harmonic landscape’ of a melody, is an especially valuable tool in the acquisition of written harmony skills.
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Martin-Gutierrez, Jorge, Marta Sylvia Del Rio Guerra, Vicente Lopez-Chao, René Hale Soto Gastelum, and Jose Fernando Valenzuela Bojórquez. "Augmented Reality to Facilitate Learning of the Acoustic Guitar." Applied Sciences 10, no. 7 (April 2, 2020): 2425. http://dx.doi.org/10.3390/app10072425.
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Many people wishing to learn a musical instrument opt to learn using alternative or informal methods instead of the traditional Master–Apprentice model that requires a greater cognitive load. This paper presents an augmented reality (AR)-based application designed to teach and train guitar chords, with the novelty that it is also used to teach short melodies consisting of four chord transitions so that users have to change hand and finger positions. The app uses high-quality 3D models of an acoustic guitar and animated hand to indicate correct finger positions and the movements required when changing from one chord to another. To follow the animated instructions, the learner overlaps the 3D model onto the neck of the physical guitar and his or her own hand. A system usability scale (SUS) questionnaire was used to measure the usability of the application. A score of 82.0 was obtained, which is higher than the average of 68 points that indicates the application is good from a user experience perspective, thus satisfying the purpose for which it was created. Having analysed the data for both groups—individuals with no prior experience of playing a musical instrument versus individuals with prior experience—it was concluded that the application provided a useful learning approach for all participants involved in the study, regardless of experience. That said, those possessing prior experience of playing an instrument learnt faster. It should be noted that the research revealed significant difference in learning by gender, with male participants learning faster than female participants. Similar results have been detected in other research performed in the field of music, as well as in other fields. As this study required spatial reasoning when viewing the 3D model, the differences identified this case may well have arisen as a consequence of differences in men and women’s spatial awareness, thereby leaving open an alternative line of research.
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Prentiss, Sandra M., David R. Friedland, John J. Nash, and Christina L. Runge. "Differences in Perception of Musical Stimuli among Acoustic, Electric, and Combined Modality Listeners." Journal of the American Academy of Audiology 26, no. 05 (May 2015): 494–501. http://dx.doi.org/10.3766/jaaa.14098.
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Background: Cochlear implants have shown vast improvements in speech understanding for those with severe to profound hearing loss; however, music perception remains a challenge for electric hearing. It is unclear whether the difficulties arise from limitations of sound processing, the nature of a damaged auditory system, or a combination of both. Purpose: To examine music perception performance with different acoustic and electric hearing configurations. Research Design: Chord discrimination and timbre perception were tested in subjects representing four daily-use listening configurations: unilateral cochlear implant (CI), contralateral bimodal (CIHA), bilateral hearing aid (HAHA) and normal-hearing (NH) listeners. A same-different task was used for discrimination of two chords played on piano. Timbre perception was assessed using a 10-instrument forced-choice identification task. Study Sample: Fourteen adults were included in each group, none of whom were professional musicians. Data Collection and Analysis: The number of correct responses was divided by the total number of presentations to calculate scores in percent correct. Data analyses were performed with Kruskal-Wallis one-way analysis of variance and linear regression. Results: Chord discrimination showed a narrow range of performance across groups, with mean scores ranging between 72.5% (CI) and 88.9% (NH). Significant differences were seen between the NH and all hearing-impaired groups. Both the HAHA and CIHA groups performed significantly better than the CI groups, and no significant differences were observed between the HAHA and CIHA groups. Timbre perception was significantly poorer for the hearing-impaired groups (mean scores ranged from 50.3–73.9%) compared to NH (95.2%). Significantly better performance was observed in the HAHA group as compared to both groups with electric hearing (CI and CIHA). There was no significant difference in performance between the CIHA and CI groups. Timbre perception was a significantly more difficult task than chord discrimination for both the CI and CIHA groups, yet the easier task for the NH group. A significant difference between the two tasks was not seen in the HAHA group. Conclusion: Having impaired hearing decreases performance compared to NH across both chord discrimination and timbre perception tasks. For chord discrimination, having acoustic hearing improved performance compared to electric hearing only. Timbre perception distinguished those with acoustic hearing from those with electric hearing. Those with bilateral acoustic hearing, even if damaged, performed significantly better on this task than those requiring electrical stimulation, which may indicate that CI sound processing fails to capture and deliver the necessary acoustic cues for timbre perception. Further analysis of timbre characteristics in electric hearing may contribute to advancements in programming strategies to obtain optimal hearing outcomes.
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del Pino, C., J. M. López-Alonso, L. Parras, and R. Fernandez-Feria. "Dynamics of the wing-tip vortex in the near field of a NACA 0012 aerofoil." Aeronautical Journal 115, no. 1166 (April 2011): 229–39. http://dx.doi.org/10.1017/s0001924000005686.
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AbstractThe dynamics of the wing tip vortex in the near-field of a NACA 0012 aerofoil has been analysed by means of flow visualisations in a water tunnel. Different axial distances near the wing up to four chords, Reynolds numbers up to 42,000 and three angles-of-attack are studied to characterise the behaviour of the vortex meandering. The spatio-temporal vortex centre positions show distorted elliptical shapes in a (x,y)-plane. The Reynolds number has no significant influence on the axial evolution of the meandering amplitude. In addition, the flow visualisations obtained with a low speed camera are analysed by the singular value or proper orthogonal decomposition. Thus, the most energetic displacement modes are obtained. The frequency associated to these modes is computed byFFT. In all the cases studied, our results show that the most unstable mode corresponds to the azimuthal wavenumber |n| = 1 in the so-called Kelvin helical modes and the frequency is lower or close to 1Hz.
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Borman, Matthew Strom, and Mark McLean. "Bounding Lagrangian widths via geodesic paths." Compositio Mathematica 150, no. 12 (September 17, 2014): 2143–83. http://dx.doi.org/10.1112/s0010437x14007465.
Full textAbstract:
AbstractThe width of a Lagrangian is the largest capacity of a ball that can be symplectically embedded into the ambient manifold such that the ball intersects the Lagrangian exactly along the real part of the ball. Due to Dimitroglou Rizell, finite width is an obstruction to a Lagrangian admitting an exact Lagrangian cap in the sense of Eliashberg–Murphy. In this paper we introduce a new method for bounding the width of a Lagrangian$Q$by considering the Lagrangian Floer cohomology of an auxiliary Lagrangian$L$with respect to a Hamiltonian whose chords correspond to geodesic paths in$Q$. This is formalized as a wrapped version of the Floer–Hofer–Wysocki capacity and we establish an associated energy–capacity inequality with the help of a closed–open map. For any orientable Lagrangian$Q$admitting a metric of non-positive sectional curvature in a Liouville manifold, we show the width of$Q$is bounded above by four times its displacement energy.
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Cho, Won Ik, Jeung Hun Kim, Sung Jun Cheon, and Nam Soo Kim. "Rule-Based Generation of Four-Part Chorus Applied With Chord Progression Learning Model." Journal of Korean Institute of Communications and Information Sciences 41, no. 11 (November 30, 2016): 1456–62. http://dx.doi.org/10.7840/kics.2016.41.11.1456.
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Ureche, Alexandru. "ECHOES OF D. SCHOSTAKOVICH’S COMPOSITIONAL STYLE IN BORIS DUBOSARSCHI’S STRING QUARTET NO.2." Akademos 60, no. 1 (June 2021): 137–45. http://dx.doi.org/10.52673/18570461.21.1-60.19.
Full textAbstract:
The String Quartet nr. 2 by the foremost Moldovan composer Boris Dubosarschi (1947–2017), as well as his entire string quartet work, was composed under the decisive influence of the work of Dmitri Schostakovich (1906–1975). The string quartet work of B. Dubosarschi, comprized of four titles, is saturated with the usage of the Dmitri Schostakovich’s musical signature – DSCH, which often serves as the thematic core of the entire cycle. The reflection of the compositional style of D. Schostakovich in the string quartet work of B. Dubosarschi, nevertheless, is not confined to the usage of the DSCH monogram, but rather encompasses a broad range of compositional techniques characteristic of the Russian composer’s work such as the use of specific modes and tonal-modal relations, of the characteristic intervals and chords, the usage of leitmotifs and monothematic principles, as well as of the full spectrum of polyphonic techniques. This article describes the compositional tehniques used in the String Quartet nr. 2 by Boris Dubosarschi that echo the compositional style of D. Schostakovich.
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Vlasic, E. P., S. Girgis, and S. H. Moustapha. "The Design and Performance of a High Work Research Turbine." Journal of Turbomachinery 118, no. 4 (October 1, 1996): 792–99. http://dx.doi.org/10.1115/1.2840936.
Full textAbstract:
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 percent, which, after correcting for temperature and measuring plane location, matched reasonably well the efficiency of 81.5 percent in the gas generator test. The effect of cooling, as measured in the cold rig, was to reduce the turbine efficiency by 2.1 percent. A part-load turbine map was obtained at 100, 110, and 118 percent 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 percent was measured between the rotor trailing edge plane and a distance four chords downstream.