Relevant bibliographies by topics / Harmonis

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Academic literature on the topic 'Harmonis'

Author: Grafiati
Published: 5 June 2025
Last updated: 15 July 2025

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Journal articles on the topic "Harmonis"

1

Hilal, Fatmawati. "Harmonisasi Keluarga Dan Adopsi Nilai Moderasi Beragama Dalam Upaya Pencegahan Keluarga Non-Harmoni." Jurnal Al-Qadau: Peradilan dan Hukum Keluarga Islam 10, no. 1 (2023): 55–67. http://dx.doi.org/10.24252/al-qadau.v10i1.38122.

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Keluarga sebagai institusi terkecil dalam masyarakat merupakan tumpuan utama mewujudkan keluarga harmonis yang sleanjutnya menjadi cikal bakal lahirnya negara yang aman, damai dan tenteram. Keluarga yang harmonis adalah cita-cita dan harapan setiap keluarga. Tulisan ini memaparkan pentingnya harmonisasi keluarga dengan mengadopsi nilai-nilai moderasi beragama sebagai upaya mencegah lahirnya keluarga non harmoni. Tulisan ini menggunakan metode penelitian kualitatif dengan pendekatan syar’i. Hasilnya ditemukan bahwa konsep moderasi beragama, seperti tawassuth (mengambil jalan tengah), tawazun (berkeseimbangan), I’tidal (lurus dan tegas), tasamuh (toleransi), musawah (egaliter), syuira (musyawarah), Ishlah (reformasi), aulawiyah (mendahulukan yang prioritas), dan tathawwur wal ibtikar (dinamis dan inovatif). Nilai-nilai moderasi beragama ini jika diinternalisasi dan diadopsi dalam kehidupan keluarga, maka akan memudahkan terwujudnya keluarga harmonis. Nilai-nilai moderasi beragama melahirkan konsep kesalingan (mubadalah) dalam keluarga. Tidak Memaksakan Kehendak, saling menghargai hak, menjunjung prinsip saling melengkapi, musyawarah dalam mengambil keputusan adalah nilai-nilai moderasi yang akan memudahkan terciptanya keluarga yang harmonis. Internalisasi dan adopsi nilai moderasi beragama dalam keluarga dapat membangun fondasi yang kuat, menciptakan lingkungan yang harmonis, dan mencegah terjadinya kasus keluarga non harmoni (broken home) yang berpotensi merusak kehidupan keluarga dan masyarakat secara keseluruhan.
 Kata Kunci : Harmonisasi, Keluarga, Moderasi Beragama
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Pratama, Haria Nanda, Abdul Rozak, and Rico Gusmanto. "Analisis Musik Iringan Lagu Aneuk Yatim Ciptaan Rafly Kande." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 3, no. 1 (2021): 18–37. http://dx.doi.org/10.24036/musikolastika.v3i1.66.

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Lagu Aneuk Yatim merupakan karya musik bergenre pop ciptaan Rafly pada tahun 1999 yang menceritakan tentang keadaan sosial kehidupan anak-anak di Aceh terkait peristiwa konflik dan tsunami di tahun 2004, dan mencapai puncak popularitasnya baik secara lokal maupun nasional. Lagu Aneuk Yatim memiliki penggunaan instrumen dan harmoni iringan yang khas dalam kalimat lagu dengan harmoni iringan dan tangganada konvensional (background harmony). Hal tersebut menjadi rangkaian pendukung melodi yang dimainkan untuk menciptakan kesan dan pesan pada lagu. Penelitian ini mencoba untuk menguraikan dan mengidentifikasi penggunaan instrumen musik dan harmoni iringan pada lagu Aneuk Yatim, yang nantinya bisa dijadikan rujukan bagi peneliti dalam menganalisis karya musik lagu. Penelitian ini menggunakan pendekatan kualitatif dengan metode analisis deskriptif. Selanjutnya, pendekatan yang dilakukan untuk mempermudah pencarian data dilakukan dengan etik dan emik agar tercapainya kelancaran dalam proses pencarian sampai dengan pengelolaan data untuk mengindentifikasi penggunaan instrumen musik dan harmoni iringan pada lagu Aneuk Yatim. Metodologi yang dilakukan dalam penelitian ini adalah pengumpulan data yang terkait subjek maupun objek dengan cara berinteraksi langsung melalui dokumentasi, observasi, dan wawancara dengan partisipan. Penggunaan instrumen dalam lagu Aneuk Yatim terdiri dari accoustic guitar, keyboard, electric bass, dan drum set. Instrumen acoustic guitar, keyboard, dan electric bass merupakan instrumen melodis dan instrumen harmonis yang digunakan sebagai instrumen dalam memainkan melodi pada interlude, serta instrumen harmonis yang memainkan akor sebagai iringan pada melodi pokok. Harmoni iringan dan tangganada pada lagu Aneuk Yatim ini, seperti tangganada minor asli maupun minor harmonis, serta harmoni yang dipakai seperti akor I-IV-V (G-C-D
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Ariska, Firawati, Nengah Bawa Atmadja, and I. Ketut Margi. "KEHARMONISAN SOSIAL PADA MASYARAKAT MULTIETNIS DAN POTENSINYA SEBAGAI SUMBER BELAJAR SOSIOLOGI (DI DESA CELUKANBAWANG, BULELENG, BALI)." Jurnal Pendidikan Sosiologi Undiksha 2, no. 1 (2020): 63. http://dx.doi.org/10.23887/jpsu.v2i1.28050.

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AbstrakPenelitian ini bertujuan untuk mengetahui (1)Faktor-fakor pendukung terciptanya masyarakat harmonis di Desa Celukanbawang; (2) Strategi yang digunakan oleh masyarakat Desa Celukanbawang untuk menjadikan masyarakat yang harmonis; (3) Cara pemanfaatan keharmonisan sosial di Desa Celukanbawang yang memiliki potensi sebagai sumber belajar di SMA/MA. Konsep yang digunakan untuk menjawab rumusan masalah tersebut yakni Integrasi sosial, sosialisasi, dan teori AGIL Talcott Parsons. Pendekatan yang digunakan menggunakan pendekatan deskriptif kualitatif, dengan langkah: penentuan informan yang terdiri dari masyarakat Desa Celukanbawang yang bercorak multietnis serta tokoh agama Hindu, Islam yang merupakan warga Desa Celukanbawang. Pengumpulan data dilakukan melalui observasi, wawancara, dan studi dokumen.Analisa data dilakukan dengan langkah pengorganisasian data, reduksi, dan kesimpulan. Hasil penelitian menunjukkan 1) Terciptanya masyarakat multietnis yang hidup harmonis di Desa Celukanbawang 2) Pembentukan keharmonisan masyarakat multietnis yang harmonis dengan dibentuk melalui pendidikan didalam keluarga, sekolah serta masyarakat. 3) Aspek-aspek sosiologi yang dapat dijadikan sebagai sumber belajar sosiologi pada masyarakat celukanbawang dalam kehidupan masyarakat multietnis antara lain: integrasi sosial, sosialisasi, toleransi dan aktivitas sosial. Aspek ini dapat dikaitkan dengan materi pembelajaran Sosisologi SMA pada topik Perbedaan, Kesetaraan dan Harmoni Sosial.Kata Kunci : Harmonisasi, Masyarakat Multietnis dan Sumber Belajar.
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Taqiyah, Diyanatut, and Budi Rahadjeng. "PELABELAN HARMONIS GENAP SEJATI DARI BEBERAPA GRAF TERHUBUNG." MATHunesa: Jurnal Ilmiah Matematika 10, no. 3 (2022): 361–67. http://dx.doi.org/10.26740/mathunesa.v10n3.p361-367.

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Pelabelan harmonis dari graf G dengan 𝑞 sisi merupakan suatu pemetaan injektif 𝑓 dari suatu titik yang ada pada graf G ke bilangan bulat modulo 𝑞 sehingga setiap sisi 𝑥𝑦 dilabeli 𝑓(𝑥) + 𝑓(𝑦) (𝑚𝑜𝑑 𝑞) menghasilkan label sisi yang berbeda. Graf yang dilabeli menggunakan pelabelan harmonis dinamakan graf harmonis. Pelabelan harmonis genap adalah suatu pemetaan injektif 𝑓 dari suatu titik pada G ke bilangan bulat dari 0 sampai 2𝑞 dan menginduksi fungsi 𝑓∗ dari sisi pada G ke 0,2, … ,2(𝑞 − 1) yang didefinisikan dengan 𝑓∗(𝑥𝑦) = 𝑓(𝑥) + 𝑓(𝑦)(𝑚𝑜𝑑 2𝑞) yang merupakan suatu pemetaan bijektif. Graf yang dilabeli menggunakan pelabelan harmonis genap dinamakan graf harmonis genap. Pelabelan harmonis genap sejati adalah pelabelan harmonis genap dari graf G dengan q sisi yang label titiknya 0,2, … ,2𝑞 − 2. Graf yang dilabeli menggunakan pelabelan harmonis genap sejati dinamakan graf harmonis genap sejati.. Artikel ini membahas mengenai pelabelan harmonis genap sejati pada beberapa graf terhubung. Apabila terdapat graf yang memiliki semua kriteria pelabelan harmonis genap, kemudian graf itu dapat dilabeli dengan pelabelan harmonis genap sejati. Pada artikel ini akan paparkan mengenai suatu graf terhubung yang memiliki kriteria pelabelan harmonis sejati antara lain graf roda serta graf helm.Kata Kunci: pelabelan graf, pelabelan harmonis, pelabelan harmonis genap, pelabelan harmonis genap sejati
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Putri, Amelia Susanto, and Anggaunita Kiranantika. "Segregasi Sosial Mahasiswa Perantau di Yogyakarta." Indonesian Journal of Sociology, Education, and Development 2, no. 1 (2020): 42–51. http://dx.doi.org/10.52483/ijsed.v2i1.20.

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Hubungan yang tercipta antara mahasiswa dari Timur Indonesia dengan masyarakat lokal Yogyakarta cenderung tidak berjalan dengan harmonis. Hal ini diakibatkan oleh perbedaan kebudayaan antar keduanya. Namun, meskipun hubungan dan interaksi yang tercipta cenderung tidak harmonis, masih ada masyarakat yang dapat bersosialisasi dengan baik dengan pendatang, yaitu di daerah Gendeng, Kota Yogyakarta. Hubungan yang harmonis tersebut disebabkan oleh kemampuan dua masyarakat yang berbeda kebudayaan tersebut untuk beradaptasi. Mayoritas mahasiswa dari Indonesia Timur seperti NTT dan Papua memilih untuk hidup berkelompok disebabkan oleh beberapa faktor baik internal maupun eksternal. Penelitian ini menggunakan metode kualitatif dengan menggunakan pendekatan studi kepustakaan. Dalam penelitian ini disumpulkan bahwa interaksi antara masyarakat lokal dengan mahasiswa pendatang dari Timur berpengaruh terhadap kehidupan mereka yang rukun dan harmoni. Perbedaan budaya yang ada dalam keduanya tidak akan menimbulkan konflik sejauh terdapat rasa toleransi antar keduanya. Mayoritas mahasiswa dari Timur Indonesia yang memilih untuk hidup berkelompok disebabkan oleh adanya apatisme dan cultural shock serta adanya stereotip dari masyarakat lokal. Stereotipe tersebut muncul sebagai akibat dari kuatnya framing yang dilakukan baik oleh lingkungan maupun media yang kemudian mempengaruhi pola pikir masyarakat.
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Indriani, Santi, and I. Ketut Budayasa. "Bilangan Pewarnaan Harmonis pada Graf Berarah." MATHunesa: Jurnal Ilmiah Matematika 8, no. 1 (2020): 45–54. http://dx.doi.org/10.26740/mathunesa.v8n1.p45-54.

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Misalkan graf berarah dengan titik dan busur. Fungsi dimana disebut pewarnaan harmonis pada jika untuk setiap dua busur berbeda, dan pada pasangan terurut . Untuk setiap busur pada , dan , maka disebut pewarnaan-harmonis-sejati- pada . Bilangan pewarnaan harmonis sejati pada graf berarah , dinotasikan dengan , yaitu minimum sedemikian hingga ada pewarnaan-harmonis-sejati- pada graf berarah . Permasalahan utama dalam skripsi ini adalah menentukan nilai eksak dari bilangan pewarnaan harmonis sejati pada graf berarah. Pada skripsi ini, diperoleh bilangan pewarnaan harmonis sejati pada beberapa kelas graf berarah , meliputi graf komplet berorientasi , lintasan berarah , sikel berarah , bintang berarah , roda berarah , dan pohon berarah .
 
 Kata Kunci: Pewarnaan harmonis sejati, graf berarah.
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Markoni Efendi, Markoni Efendi, and Wandi. "Hukum dan Politik dalam Penyelesaian Konflik dalam Mewujudkan Keadilan." Indragiri Law Review 2, no. 2 (2024): 6–15. http://dx.doi.org/10.32520/ilr.v2i2.31.

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Konflik dalam kehidupan sosial dan politik adalah fenomena yang tak terelakkan, dari perselisihan individu hingga konflik antar negara. Penyelesaian konflik yang adil dan efektif sangat penting untuk menjaga kestabilan dan harmoni masyarakat, dengan hukum dan politik memainkan peran krusial. Hukum menyediakan kerangka kerja dan prosedur yang baku untuk menyelesaikan konflik melalui pengadilan dan arbitrase, meskipun akses yang tidak merata terhadap layanan hukum dan penegakan hukum yang tidak efektif sering menjadi tantangan. Politik berperan signifikan dalam mediasi dan fasilitasi negosiasi konflik. Integrasi harmonis antara hukum dan politik, yang didasarkan pada prinsip-prinsip keadilan, transparansi, dan akuntabilitas, sangat diperlukan. Dengan memperkuat kolaborasi ini dan melakukan reformasi yang diperlukan, diharapkan konflik dapat diselesaikan dengan cara yang adil dan damai, menciptakan masyarakat yang lebih harmonis dan berkeadilan.
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Atmadja, K. "Pelabelan Harmonis pada Graf Sehati." JURNAL ILMIAH MATEMATIKA DAN TERAPAN 19, no. 1 (2022): 111–16. http://dx.doi.org/10.22487/2540766x.2022.v19.i1.15658.

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Graf dapat ditulis atau dapat ditulis . Graf terdiri dari himpunan tak kosong simpul dan himpunan sisi Banyak simpul sebagai notasi Notasi sebagai banyak sisi. Pelabelan harmonis memenuhi syarat . Pelabelan Harmonis dari sebuah graf merupakan fungsi injektif dari himpunan simpul ke himpunan bilangan bulat modulo yang membangkitkan fungsi bijektif dari himpunan sisi ke himpunan bilangan bulat modulo dengan yang menghasilkan label sisi berbeda. Apabila graf dapat dilabel harmonis, maka graf termasuk Graf Harmonis. Metodologi penelitian ini diawali dengan mengambil graf harmonis, yaitu graf tangga segitiga sebagai kelas graf terhubung dan sederhana yang memuat bulatan segitiga. Penelitian dimulai pada graf yang terdiri atas bulatan segitiga yang digeneralisasi, lalu dimodifikasi seperti bentuk hati. lalu, ditambahkan tiga buah sisi sebagai penghubung untuk menghubungkannya kembali. Hasil yang didapat berupa konstruksi graf terhubung, yang berbentuk hati berderet memanjang, dan dinamakan graf sehati. Tujuan yang dicapai adalah menambah koleksi graf harmonis. Hasil akhir dari kajian penelitian ini adalah menunjukkan bahwa graf sehati merupakan graf harmonis
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Jannah, Nurul, Nilamsari Kusumastuti, and Meliana Pasaribu. "Pewarnaan harmonis pada beberapa kelas graf berarah." AKSIOMA : Jurnal Matematika dan Pendidikan Matematika 14, no. 1 (2023): 16–29. http://dx.doi.org/10.26877/aks.v14i1.13235.

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AbstrakPewarnaan graf merupakan suatu pemetaan dari elemen pada suatu graf ke himpunan semua bilangan asli sedemikian sehingga setiap elemen yang bertetangga tidak dipetakan ke bilangan yang sama. Pada pewarnaan graf, image dari elemen suatu graf disebut warna. Dimisalkan dan adalah simpul-simpul pada dan serta adalah warna. Jika simpul diwarnai dengan dan simpul diwarnai dengan maka pasangan warna yang dihasilkan adalah pasangan warna . Pewarnaan harmonis menerapkan konsep pewarnaan simpul dalam mewarnai suatu graf dengan syarat satu pasang warna muncul paling banyak satu kali. Banyak warna yang paling minimum yang digunakan dalam pewarnaan harmonis disebut bilangan kromatik harmonis. Dalam penelitian ini, konsep pewarnaan harmonis akan diterapkan pada beberapa kelas graf berarah untuk melihat pola bilangan kromatik dari masing-masing kelas tersebut. Seperti diketahui, pada graf berarah , pasangan warna sehingga proses pewarnaan tersebut menjadi lebih kompleks. Adapun kelas graf yang dibahas adalah graf lili berarah , graf komplit berarah dan graf kipas berarah . Didapat bilangan kromatik harmonis pada graf lili berarah adalah dengan ; bilangan kromatik harmonis pada graf komplit berarah adalah . Sedangkan bilangan kromatik harmonis pada pewarnaan graf kipas berarah berada pada selang .Kata kunci: bilangan kromatik harmonis; pasangan warna; pewarnaan simpul
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Chairozi, Fachri. "KOMUNIKASI ANTAR BUDAYA DALAM MASYARAKAT MULTIKULTURAL: TANTANGAN BAGI UMAT ISLAM." Nubuwwah : Journal of Communication and Islamic Broadcasting 3, no. 01 (2025): 1–15. https://doi.org/10.21093/nubuwwah.v3i01.10010.

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Komunikasi antar budaya memainkan peran penting dalam masyarakat multikultural, khususnya bagi umat Islam yang menghadapi berbagai tantangan dalam mempertahankan identitas keislaman tanpa mengabaikan prinsip toleransi. Penelitian ini bertujuan untuk menganalisis bagaimana komunikasi antar budaya dapat menjadi sarana membangun harmoni sosial dan mengatasi stereotip serta prasangka negatif. Menggunakan pendekatan kualitatif dengan metode studi pustaka, penelitian ini menelaah berbagai teori komunikasi dan interaksi sosial dalam konteks keberagaman budaya. Hasil penelitian menunjukkan bahwa umat Islam perlu menerapkan strategi komunikasi yang inklusif dengan tetap berpegang pada prinsip-prinsip Islam. Pendidikan multikultural, dakwah moderat, dan penguatan identitas keislaman menjadi faktor utama dalam membangun interaksi yang harmonis. Selain itu, penguatan ekonomi umat dan peran lembaga keagamaan juga berkontribusi dalam mengatasi ketimpangan sosial yang dapat memicu konflik. Dengan menerapkan komunikasi antar budaya yang efektif, umat Islam dapat berperan aktif dalam menciptakan masyarakat yang lebih toleran, inklusif, dan harmonis.
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Dissertations / Theses on the topic "Harmonis"

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Raimundo, Nuno de Mendonça Freire Nogueira. "A harmonia musical da arquitectura de seiscentos. Análise e intervenção no Convento de Santa Marta." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/7182.

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Thunberg, Erik. "On the Benefit of Harmonic Measurements in Power Systems." Doctoral thesis, Stockholm, 2001. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3219.

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Wright, P. S. "The accurate analysis of smoothly fluctuating harmonics applied to the calibration of harmonic analysers." Thesis, University of Surrey, 2002. http://epubs.surrey.ac.uk/843265/.

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The aim of this research is to develop an accurate method for the analysis of signals composed of fluctuating harmonics. The results obtained of analysis are applied to the calibration of harmonic analysis instruments. A new method is presented suitable for the accurate analysis of smoothly fluctuating harmonic signals. The method is based on a model of signals with a known period, in which the harmonics are individually modulated by polynomial functions normalised over a sampled signal sequence time. Using this model, a decomposition method is developed such that the modulating polynomials can be recovered from a signal. The polynomial decomposition method leads to a piece-wise analysis of the waveform. Two methods based on least squares and splines respectively, are developed with the aim of giving continuity to the piece-wise analysis. Comparisons of the new method with the short time Fourier transform are given. Having defined a test signal and obtained and accurate analysis of it properties, it can be used to calibrate harmonic analysers. For a given applied signal, analysis with these devices can give rise to variation in results as a function of the phase between the signal and the STFT windows. This result distribution due to variable phase (RDVP) is discussed and examples are given for various signals. The RDVP complicates the calibration process due to the spread of results that occur when testing the device. A method is developed to find the RDVP for an applied signal that uses the polynomial decomposition method to find the modulation functions of each harmonic in the applied calibration signal. Having found the RDVP for an applied signal, it is necessary to fit the results of the analyser under test, to the distribution. The random nature of the phase makes the systematic comparison of the theoretical and measured distributions difficult to achieve. A novel method that uses multiple phase shifted modulated harmonics is presented. By comparing the results of the analyser under test to the distributions of each of the phase-shifted harmonics, a best-fit phase shift can be determined and the required calibration comparison made. Key words: time-frequency analysis, demodulation, harmonic analysis, fluctuating harmonics, waveform metrology, calibration of harmonic analysers.
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Orillaza, Jordan Rel Cajudo. "Harmonic State Space Model of Three Phase Thyristor Controlled Reactor." Thesis, University of Canterbury. Electrical and Computer Engineering, 2012. http://hdl.handle.net/10092/6634.

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Harmonic domain models have been developed for Thyristor Controller Reactors (TCR) and other power electronic devices. Recently, these models have been extended to describe not just the steady-state harmonic interactions but harmonic transients as well. However, these dynamic models consistently do not incorporate models for controls. On the other hand, for the TCR as a FACTS Controller, dynamic models are available in which only the fundamental frequency component of the Controller is included; excluding harmonic interactions presumes that these do not affect the dynamics of the Controller. This thesis describes the development of a Harmonic State Space (HSS) model of a three phase TCR. As an extended state space description, this model describes the dynamics of the Controller while capturing harmonic interactions. It also includes the effect of switching instant variation which significantly improves the effectiveness of the model and allows the controller feedback characteristics to be included. The result of this model was validated with a purely time-domain simulation in PSCAD/EMTDC. Using the HSS to model a power system with TCR, it is illustrated that harmonic interactions play a significant role in the dynamics of the system. It is observed that for the specific system analysed, the least-damped pole-pair which dominates the dynamics of the system is associated with the 5th harmonic. Failure to include interactions with this specific harmonic produces an inaccurate dynamic description. Preliminary to the development of HSS model, a linearised harmonic domain model of a TCR which establishes the harmonic interactions across the device is also developed. Results of this model are validated with a time-domain simulation. This characterisation paves the way for a reduced harmonic state space model that is used in the HSS model. The principles and procedures established in this thesis can be applied to the development of models for other FACTS Controllers or HVDC links.
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Estapé, i. Madinabeitia Víctor. "Los acrodes de Tristán. Una contribución al estudio de la armonía de Richard Wagner." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/392692.

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El "Acorde de Tristán", la primera armonía que se escucha en el drama musical de Wagner Tristan und Isolde, goza de una doble reputación, como el punto de partida de la armonía moderna, y como el centro de una controversia no resuelta sobre su explicación analítica. Esta tesis tiene como objetivo proporcionar evidencia de que, a pesar de su innegable originalidad, el acorde de Tristán se basa en procedimientos profundamente arraigados en la práctica armónica y polifónica europea de los períodos barroco, clásico y romántico períodos, e incluso de la época renacentista. Diversos supuestos antecedentes del Acorde de Tristán son estudiados para demostrar que la mayoría sólo tiene una relación vaga con él. Se sugiere que algunos ejemplos de los siglos XVIII y XIX que no han recibido la atención de los teóricos pueden una mayor importancia como anticipaciones del Acorde de Tristán. Para proporcionar un contexto para el Acorde de Tristán, un capítulo completo está dedicado a elementos del lenguaje armónico como el Acorde semidisminuido, los Acordes de Sexta aumentada y la cadencia frigia. Las formas en que Wagner emplea el Acorde semidisminuido antes y después de la composición de Tristan und Isolde también se estudian. El Complejo del Preludio (los primeros 17 compases de la obra) se demuestra que tienen identidad autónoma y actuar como una referencia temática en toda la ópera. Se discuten una serie de análisis del Acorde de Tristán de finales del siglo XIX hasta la actualidad, y se ofrecen pruebas de que los análisis más adecuados y útiles son aquellos que se señalan características del Acorde de Tristán que lo vinculan con la práctica común de la época de Wagner o de la música anterior . Se sugiere que, si bien ningún enfoque analítico puede proporcionar una explicación plenamente satisfactoria, es posible un análisis sencillo del Acorde de Tristán en su primera aparición. El Sol# como una apoyatura en un acorde de Sexta francesa puede ser una explicación suficiente para la estructura del Acorde de Tristán en la forma que aparece en el inicio de la ópera. Sin embargo, su tercera presentación muestra una estructura armónica completamente diferente que los teóricos han tendido a ignorar o a tratar de dilucidar con explicaciones superficiales. La naturaleza del Acorde de Tristán en su primera aparición se ha tratado con exagerado énfasis y, como consecuencia, las diversas formas del acorde que aparecen durante la ópera no se han resuelto satisfactoriamente. En esta tesis se analiza cada aparición individual del Acorde de Tristán en Tristan und Isolde, mostrando la variedad de sus múltiples versiones. Se dedica una especial atención a la última aparición en las compases finales del Acto tercero, una forma que se ha estudiado en su significado dramático, pero no en términos de su estructura armónica. El Acorde de Tristán, en sus múltiples formas, de ninguna manera es el único punto de interés armónico en Tristan und Isolde. Además de este acorde, se analizan una serie de frases o temas de la ópera para mostrar el Acorde de Tristán no es una invención aislada, sino que recibe su sentido completo solamente en el contexto musical y dramático de una de las obras de mayor alcance del repertorio.<br>The “Tristan Chord”, the first harmony heard in Wagner’s music drama Tristan und Isolde , enjoys a twofold reputation both as the starting point of modern Harmony, and as the center of an unresolved controversy about its analytical explanation. This Thesis aims to provide evidence that, despite of its undeniable originality, the Tristan Chord is based on procedures that are deeply rooted in the European harmonic and polyphonic practice of the Baroque, Classic and Romantic periods, and even of the Renaissance age. Alleged anticipations of the Tristan Chord are discussed to show that most have only an imprecise relationship with it. Some examples from the 18th and 19th Centuries that have not received the attention of the theorists are suggested to have a greater significance as anticipations of the Tristan Chord. To provide a context for the Tristan Chord, a full chapter is devoted to elements of harmonic language such as the half-diminished chord, the augmented sixth chords and the Phrygian cadence. The manners in which Wagner employs the half-diminished chord before and after the composition of Tristan und Isolde are also surveyed. The Prelude Complex (the first 17 measures of it) is shown to have autonomous identity and to act as a thematic reference throughout the opera. Analyses of the Tristan Chord from the late 19th Century to the present are discussed, and evidence is offered that the most appropriate and useful analysis are those that align features of the Tristan Chord that link it with the common practice of Wagner’s time or of earlier music. It is suggested that, although no single analytical approach may provide a fully satisfactory explanation of it, somewhat simple analysis of the Tristan Chord at its first appearance is viable. The G# as a free suspension on a French-sixth chord may be a sufficient explanation for the structure of the Tristan Chord in the form that it appears at the opening of the opera. However, its third presentation displays a completely different harmonic structure that theorists have tended to ignore or to try to elucidate with perfunctory explanations. The nature of the Tristan Chord in its first appearance has been overemphasized and, as a consequence, the many different forms of the chord that are displayed during the opera have not been addressed satisfactorily. In this Thesis every individual appearance of the Tristan Chord in Tristan und Isolde is analysed, showing the variety of its multiple versions. Special attention is dedicated to the very last appearance in the closing measures of the Third Act, a form that has been studied in its dramatic meaning, but not in terms of its harmonic structure. The Tristan Chord, in its multifarious forms, is by no means the only harmonic point of interest in Tristan und Isolde. Besides the eponymous chord, a number of phrases or themes of the opera are analysed to show the Tristan Chord is not as an isolated invention, but that it receives its full sense only in the musical and dramatic context of one of the most far-reaching works in the repertory.
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Cho, Namhun. "Allocation of individual harmonic emission limits in accordance with the principles of IEC/TR 61000-3-6." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/49075.

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A model of the accurate harmonic allocation methods is developed to improve the current emission limits of IEEE Std.519. IEC 61000-3-6 and IEEE Std. 519 have by now been accepted as two well known standards for interconnecting the MV and HV-EHV customers to utility systems and widely adopted as standards to many power utilities. It is worth noting that the harmonic current emission limits of both standards have not been compared and justified with analytical proofs because there is still no explanation that discusses the origin of the emission limits in IEEE Std. 519, or the complex feature of IEC 61000-3-6. Two new novel methods of allocating the harmonic current emission limits for MV customers and HV-EHV customers have been proposed. Both methods have been developed in accordance with the principles of IEC 61000-3-6. Task II has compared and investgated the emission limits of both IEC 61000-3-6 and IEEE Std. 519. The difference, inconsistency and inaccuracy have been proven with the perspective of practical evaluations based on their own principles. The investigations focus on the specific numerical proofs of the resulting voltage distortions and the current emission limits in the MV and HV-EHV systems rather than on the philosophies. The proposed methods strongly support IEC 61000-3-6 and IEEE Std. 519, and add to their value; these methods could also help utilities allocate fairly and accurately harmonic emission limits to their MV and HV-EHV customers.
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Debbeler, Judith. "Harmonie und Perspektive : die Entstehung des neuzeitlichen abendländischen Kunstmusiksystems /." München : Epodium-Verlag, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3005348&prov=M&dok_var=1&dok_ext=htm.

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Lai, Tsz-ming Terence. "Harmonic simulation of traction system /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21929543.

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Butkus, Gintautas. "Aukštųjų srovės harmonikų slopinimo įrenginių tyrimas." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060621_093929-51449.

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The theme of the filter of compensating devices current harmonics analyzed at present on work is actual, because concrete requirements on quality of electric energy are established. One of such requirements – size of harmonics in a feeding electric network. In industrial electric networks to which converters are connected, high harmonics on size reach 20-25 %. Special devices for eliminating harmonics are used. Condensers which are used for indemnification of reactive electric energy, do not extinguish them, therefore are projected the filter – compensatory installations, using capacity of the battery of condensers as base of the power filter. Bases of designing of the filter – compensatory devices of the parameters of semi-conductor converters of the electric power intended for normalization with a power line are considered. The purpose work of the master – the analysis of a factory electric network on the maximum harmonics and to design the filter for eliminating harmonics. The electric network has been checked up by device PQ ANALYSER. Such harmonics 3, 5, 7, 9, 11, 13 are found. The greatest on a current is third harmonic. Condensers of reactive capacity connected, network does not act on a harmonic. Compensatory installation which is made of separate filters of clearing of harmonics is designed, will strongly reduce the specified harmonics in a factory network.
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Taddei, Rita de Cassia. "Alberto Nepomuceno, Artémis: um estudo de análise neorriemanniana." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-26052015-120059/.

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Este trabalho analisa a estruturação harmônica do episódio lírico Artémis, de Alberto Nepomuceno, buscando demonstrar que a técnica usada pelo compositor emprega sistematicamente os princípios da linguagem do cromatismo pós-wagneriano. Observa-se, inicialmente, que o projeto dessa obra encontra-se na vanguarda das estéticas de seu tempo, alinhando-se com as correntes progressistas do período. Nesse sentido verifica-se que, apesar de Nepomuceno ter sido identificado pela historiografia modernista como precursor do nacionalismo musical brasileiro, nesta obra prevalece sua inclinação cosmopolita. Para o desenvolvimento da pesquisa examinou-se inicialmente qual ferramenta de análise harmônica, dedicada ao repertório do cromatismo romântico do final do século XIX, seria mais adequada ao Artémis. Apresenta-se, por isso, uma introdução às teorias analíticas aplicáveis ao repertório com tonalidade expandida do século XIX, focando nos trabalhos de Hugo Riemann, Arnold Schoenberg e David Kopp. As teorias harmônicas de Riemann, sendo a matriz primordial dessas teorias, são extensamente investigadas. Comparamos, a seguir, as propostas dos três teóricos no que se refere a ferramentas de análise para peças com estrutura cromática. Discorrendo sobre aspectos positivos e negativos de cada teoria investigada, apontamos a recente teoria neorriemanniana de Kopp como a que melhor sistematizou, para nossos propósitos, os avanços acadêmicos no entendimento dos problemas harmônicos do repertório cromático do século XIX. Defendendo a importância de se atrelar, adequadamente, teoria, análise e repertório, confrontamos teoria e prática analítica, aplicando ao Artémis a sistemática das transformações cromáticas de Kopp. Conseguimos assim demonstrar, na prática do processo analítico, através de uma ferramenta de análise perfeitamente ajustada ao repertório proposto, resultados que atestam a coerência estrutural do texto musical abordado aos princípios transformacionais da harmonia cromática pós-wagneriana.<br>This dissertation analyses the harmonic structure of the \"lyric episode\" Artémis, composed by Alberto Nepomuceno, aiming to demonstrate that the technique used by the composer employs, systematically, the principles of the post-Wagnerian chromatic language. We observe, initially, that the project of this piece fits the avant-garde aesthetics of its time, aligning itself to the progressive trends of the period. In this sense we verify - although Nepomuceno has been identified by the modernistic Brazilian historiography as a forerunner of the Brazilian musical nationalism - that his cosmopolitan inclinations prevailed in this composition. At first, for the adequate development of the research, we examined which tool of harmonic analysis, dedicated to the chromatic repertoire of the final of the XIX Century, would be more adequate to the music of Artémis. We present, therefore, an introduction to the analytical theories that might be useful to the repertoire of expanded tonality of the XIX Century, focusing in the texts of Hugo Riemann, Arnold Schoenberg and David Kopp. The harmonic theories of Riemann, as the matrix for all these theories, are extensively investigated. We compare, in the sequence, the proposals of three theoreticians that developed analytical tools for pieces with chromatic structures. Revealing the positive and negative aspects of each of these theories, we pointed out the recent neoriemannian theory by Kopp as the one that better systematizes, for our purposes, the academic advances in the understanding of the harmonic problems of the chromatic repertoire composed at the end of the XIX Century. Because we defend the importance of considering simultaneously theory, analysis and repertoire, we confront theory and practice, applying to Artémis, Kopp\'s chromatic transformations systematic theory. This way we were able to demonstrate, in the practice of the analytical process, through an analytic tool perfectly fit to proposed repertoire, results that attest the structural coherence of the studied musical text with the transformational principles of post-Wagnerian chromatic harmony.
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Books on the topic "Harmonis"

1

Amien, Muh. Menggalang kesatuan bangsa, harmonis sejahtera. Yayasan KPI, 1990.

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Abdullah, Hamid. Di sekitar kehidupan harmonis manusia Jawa. Lembaga Ilmu Pengetahuan Indonesia, 1985.

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Machasin. Islam dinamis Islam harmonis: Lokalitas, pluralisme, terorisme. LKiS, 2011.

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Indonesia. Direktorat Jenderal Penataan Ruang. Mewujudkan ruang perkotaan yang harmonis, berdaya saing, dan berkelanjutan. Direktorat Jenderal Penataan Ruang, Departemen Pekerjaan Umum, 2008.

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Abdul, Aziz, ed. Mengabdi membangun kehidupan beragama yang harmonis: Refleksi 32 tahun Puslitbang Kehidupan Keagamaan. Departemen Agama RI, Badan Litbang dan Diklat, Puslitbang Kehidupan Keagamaan, 2007.

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1954-, Aziz Abdul, Nuhrison M. Nuh, Syaukani Imam 1971-, and Pusat Litbang Kehidupan Beragama (Indonesia), eds. Mengabdi membangun kehidupan beragama yang harmonis: Refleksi 33 tahun Puslitbang Kehidupan Keagamaan. 2nd ed. Departemen Agama RI, Badan Litbang dan Diklat, Puslitbang Kehidupan Keagamaan, 2008.

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Mangunjaya, Fachruddin M. Hidup harmonis dengan alam: Esai-esai pembangunan lingkungan, konservasi, dan keanekaragaman hayati Indonesia. Yayasan Obor Indonesia, 2006.

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Maarif, Syamsul. Merapi menyapa kehidupan: Hidup harmonis di lereng Merapi : catatan, kenangan, dan pembelajaran peristiwa erupsi Merapi, 2010. Badan Nasional Penanggulangan Bencana, 2012.

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Efendi, Mahmudi. Pengembangan model implementasi pembelajaran bahasa Indonesia berbasis harmoni sosial masyarakat Sumbawa: Ke arah pengembangan sikap dan perilaku hidup harmonis siswa SMP/MTS : laporan penelitian hibah bersaing. Fakultas Keguruan dan Ilmu Pendidikan, Universitas Mataram, 2012.

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Efendi, Mahmudi. Pengembangan model implementasi pembelajaran bahasa Indonesia berbasis harmoni sosial masyarakat Sumbawa: Ke arah pengembangan sikap dan perilaku hidup harmonis siswa SMP/MTS : laporan penelitian hibah bersaing. Fakultas Keguruan dan Ilmu Pendidikan, Universitas Mataram, 2011.

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Book chapters on the topic "Harmonis"

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Albert, Claudia. "Harmonie/harmonisch." In Ästhetische Grundbegriffe. J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-00522-9_1.

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Avery, John. "Harmonic Polynomials, Hyperspherical Harmonics, and Sturmians." In Fundamental World of Quantum Chemistry. Springer Netherlands, 2003. http://dx.doi.org/10.1007/978-94-010-0113-7_11.

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Sastri Sunarti. "TRADISI LISAN POU HARI DALAM PENDEKATAN EKOKRITIK." In Sastra dan Ekologi. Penerbit BRIN, 2023. http://dx.doi.org/10.55981/brin.304.c595.

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Melalui pendekatan ekokritik, tulisan ini menguraikan tradisi lisan Pou Hari dari Alor, Nusa Tenggara Timur yang memiliki kepercayaan kepada makhluk laut yang diangap memiliki hubungan dengan makhluk darat pada masa lalu. Hubungan tersebut merupakan hubungan yang harmonis yang ditandai dengan kepercayaan bahwa manusia darat dapat berkunjung ke dasar lautan dan sebaliknya manusia laut dapat menghadiri pesta lego-lego di daratan. Namun, hubungan harmonis itu pada suatu saat pecah karena kelalaian manusia memegang janji untuk tidak menyakiti makhluk laut yang sedang ikut pesta lego-lego tersebut. Berdasarkan mitologi tersebut kemudian suku Manglolong menjadikannya sebagai tradisi Pou Hari yang sejatinya adalah upacara penghormatan kepada alam khususnya laut dan isinya.
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Hyman, Larry M. "Phonology that Will Not Harmonize." In The Oxford Handbook of Vowel Harmony. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780198826804.013.13.

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Abstract Abstract:This chapter considers phonological properties that are generally believed not to harmonize. It begins with vowel length, showing a close (but inconclusive) example from Leggbó. It then considers whether tonal assimilations should be considered ‘harmony.’ Citing examples from Bantu languages, it shows that there are parallels, but that tonal assimilations have properties not found in segmental harmonies. In the last section it addresses ‘asymmetric harmony,’ whereby only one value of a (possibly privative) feature harmonizes—for example, Round and Nasal. As with the possibility of length harmony, it concludes with possible examples of unrounding harmony (Ineseño) and oral harmony (Pirahã, Tiene), which, however, may lend themselves to other interpretations.
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Oxford, Rebecca L. "Seeking Linguistic Harmony." In The Virtue of Harmony. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197598481.003.0013.

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Linguistics is the scientific study of language but can also point to what it means to be human. This chapter presents three perspectives on linguistic harmony: literal, figurative, and technical. The first perspective concerns literally expressed harmony, which includes a helpful typology and the possibility of a far more inclusive, more flexible, “new literal” concept of gender. The second perspective is harmony in figurative language (e.g., metaphor, simile, antithesis, and irony), which stimulates not just cognition but also emotion and the senses. Technical theories of linguistic harmony (e.g., harmonic language and sentence- and word-forming harmonies), comprise the third perspective. The conclusion shows that an understanding of the three perspectives on linguistic harmony, as well as the harmonious communication to which they contribute, could help us awaken to an even broader, deeper conceptualization of harmony in social, racial, political, educational, spiritual, and environmental realms. This would lead to greater hope for humanity.
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Variego, Jorge. "Harmony (Exercises 21–40)." In Composing with Constraints. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190057237.003.0003.

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This chapter focuses on sounds that occur simultaneously. The concept of harmony here is broad and has a far-reaching scope; it includes functional and non-functional harmonies, color, and any other approach to simultaneous sonorities. Exercise 21 suggests the implementation of voice leading as a constructive principle through stylistic imitation. Number 22, in which “melody becomes harmony,” proposes the harmonization of a melody using exclusively its pitch content. Exercise 23 incorporates symmetrical harmonies; 24 and 25 use the harmonic series to create harmonies. In 26 the harmonies are built around major and minor triads with pitches in common. Exercise 27 incorporates the use of integer notation; 28 uses scale degrees but not triads. The base of exercise 29 is the 12-tone row; 30 uses the concept of “circle” progression or harmonies that move around the circle of fifths; 31 and 32 incorporate harmonies that move in major and minor thirds; 33 and 34 discuss overlapping triads and polytonality; 35 provides an opportunity to work with pedal tones; 36 incorporates the church modes and 37 the use of clusters (i.e., harmonies based exclusively on minor a major seconds). Exercise 38 is based on harmonic sequences; 39 and 40 discuss implied harmonies and writing “contrafacts.”
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Feke, Jacqueline. "Harmonia." In Ptolemy's Philosophy. Princeton University Press, 2018. http://dx.doi.org/10.23943/princeton/9780691179582.003.0005.

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In the Harmonics, Ptolemy reveals that the heavens and human souls share the same formal structure. They are characterized by the same set of ratios, the ones studied by harmonics, the mathematical science that investigates the relations among musical pitches. In other words, harmonic ratios describe the relations among not only musical pitches but also the parts of the human soul and the movements and configurations of heavenly bodies. Moreover, Ptolemy explains why it is that these various objects are characterized by these same ratios. It is because of harmonia. This chapter argues that concept of harmonia is the crux of Ptolemy's ethical theory. It is because harmonia operates most fully in human souls, the heavens, and musical scale systems that human beings' mathematical study of the latter two sets of phenomena has the power to shape and transform their souls.
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Wannamaker, Robert. "James Tenney and the Theory of Harmony." In The Oxford Handbook of Spectral Music. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.23.

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Abstract Around 1970, an unexpected but enduring preoccupation with harmony emerged in the music of James Tenney. In his consequent body of work two structural archetypes appear: a “spectralist” one arising in the early 1970s and characterized by gradual processes and reference to the harmonic series, complemented (but not supplanted) a few years later by another invoking lattice (Tonnetz) models of harmonic proximity. These categories correlate with different concepts of “consonance” and “dissonance” as articulated in Tenney’s theoretical writings, and in part reflect his effort to decompose “harmonic perception” itself into distinct facets with correspondingly distinct qualitative referents, acoustical correlates, apposite models, and historical associations. This chapter examines Tenney’s harmonic theories and illustrates their compositional expression via analyses of his just-intoned Harmonium #1 (1976) and Harmonium #3 (1978).
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Stamatellos, Giannis. "Plotinus on Virtue as Harmony." In The Virtue of Harmony. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197598481.003.0006.

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In Plotinus’s Enneads, the concept of harmony is mainly discussed in relation to intelligible beauty and musical melody, the Pythagorean doctrine of soul’s harmony, the universal harmony of the heavenly spheres, the nature of the perceptible bodies, and the correlation between virtue and harmony. Modern scholarship emphasizes the Platonic-Pythagorean elements of Plotinus’s harmonia. However, limited attention has been paid to the pre-Platonic origins of the concept of harmony in the Enneads as well as its connection to Plotinus’s theory of virtue. The aim of this chapter is twofold: first, to explore Plotinus’s concept of harmony in light of Heraclitus’s concordance of opposites, and second, to compare Plotinus’s account of harmony to his virtue ethics. It is suggested that Plotinus’s harmonia is not only found in musical harmony and the concordance of opposites but also to the virtue of justice as the harmonious concordance of the soul’s different parts.
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Merwe, Peter Van Der. "British Folk Music." In Origins of the Popular Style. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163053.003.0004.

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Abstract Lack of harmony. In general European folk music is non harmonic, at least as regards the older styles. There is a tradition of instrumental accompaniment in the south, and here and there one finds traces of ancient harmonic practices of a completely non-classical kind, in Iceland or Sardinia for instance. Whether such practices survived in Britain, and, if so, whether they had any influence on vocal harmonization in the United States, are interesting questions. The Copper family of Sussex is known for its two-part unaccompanied vocal harmonies, but this style gives a strong impression of being derived from eighteenth century glee singing. Apart from such isolated and problematical survivals, the only harmonic effect of any importance in British folk music is supplied by drones.
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Conference papers on the topic "Harmonis"

1

Hussain, Mukhtar, Gareth O. Williams, Tayyab Imran, Marco Peres, Katharina Lorenz, and Marta Fajardo. "Disentangling the low-order harmonic generation from bulk and thin films." In CLEO: Fundamental Science. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/cleo_fs.2024.fw4c.5.

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We have explored the process of second harmonic generation (SHG) and third harmonic generation (THG) in thin films at 800 nm driving wavelength to disentangle the bulk and thin film’s contribution of harmonics.
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Kowalczyk, Katarzyna M., Hortense Allegre, Joseph Broughton, et al. "Solid High Harmonic Enhancement Near the Band Gap Edge." In CLEO: Fundamental Science. Optica Publishing Group, 2024. http://dx.doi.org/10.1364/cleo_fs.2024.fw4c.2.

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We present a SWIR wavelength dependence study of high harmonics from MgO and α-Al2O3. We report robust enhancement for harmonic energies corresponding to the widest bandgap accompanied by gradual changes to the harmonic anisotropy.
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Cooley, Christopher, and Adrian Hood. "Dynamic Analysis of Rotorcraft Planetary Gears Using a Finite Element/Contact Mechanics Model." In Vertical Flight Society 74th Annual Forum & Technology Display. The Vertical Flight Society, 2018. http://dx.doi.org/10.4050/f-0074-2018-12856.

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This study investigates the vibration of the OH-58A and OH-58C planetary gear stages at operating conditions using a finite element/contact mechanics model. These two planetary gears have identical sun, planet, and ring gears. They differ in the number of planets, the planet spacing, and the mesh phasing, which results in substantial differences in their vibration characteristics. The elastic vibrations at fixed points on the ring outer diameter of both planetary gears have spectra with frequency content in clusters near each harmonic of mesh frequency. The OH-58A planetary gear, which has equally-spaced planets and in-phase meshes, has the same frequency components near each harmonic of mesh frequency. They include response at mesh frequency harmonics and upper and lower sidebands at multiples of the planet pass frequency. The OH-58C planetary gear has different frequency content than the OH-58A because it has diametrically-opposed planet spacing and gear meshes that are out-of-phase. The frequency content near odd harmonics of mesh frequency differs from that near even harmonics. There is no response at odd harmonics of mesh frequency, and upper and lower sideband frequencies are prominent. Response occurs at even harmonics of mesh frequency. Upper and lower sideband frequencies occur at multiples of twice the carrier frequency. The amplitudes of the sideband frequencies are sensitive to the system's input torque.
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Wiganingrum, Tyas, Vina Serevina, and Agus Setyo Budi. "LEMBAR KERJA ELEKTRONIK PESERTA DIDIK DILENGKAPI VIDEO ANIMASI BERBASIS GUIDED DISCOVERY PADA MATERI GERAK HARMONIS SEDERHANA." In SEMINAR NASIONAL FISIKA 2019 FMIPA UNJ. Pendidikan Fisika dan Fisika FMIPA UNJ, 2019. http://dx.doi.org/10.21009/03.snf2019.01.pe.38.

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Arghandeh, Reza, Ahmet Onen, Jaesung Jung, Danling Cheng, Robert Broadwater, and Virgilio Centeno. "Harmonic Impact Study for Distributed Energy Resources Integrated Into Power Distribution Networks." In ASME 2013 Power Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/power2013-98150.

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Smart realization involves a steady increase in inverter-based components like Distributed Energy Resources (DER), energy storage systems, and plug-in electric vehicles. The harmonics related to DER inverters and the spread of power electronic devices raises concerns for utilities and customers. Harmonics can create component failures, thermal losses and control system malfunctions. In this paper the authors analyze the impact of multi-source harmonics from DERs inside distribution networks. The harmonics impacts are evaluated by harmonic measurement indices. Harmonic emission in a real distribution circuit is simulated with the help of power flow analysis. The results are presented with visualization techniques to give a better picture of harmonic propagation vs. different levels of harmonic source magnitude and angle. Due to effect of harmonic on network efficiency, a sensitivity analysis considering power factors is conducted.
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Ditmire, T., E. T. Gumbrell, R. A. Smith, J. W. G. Tisch, D. D. Meyerhofer, and M. H. R. Hutchinson. "Spatial Coherence Measurement of High Order Harmonic Radiation." In Applications of High Field and Short Wavelength Sources. Optica Publishing Group, 1997. http://dx.doi.org/10.1364/hfsw.1997.the18.

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Though a vast number of studies have been conducted on the various properties of intense field high order harmonic radiation, there have been no studies of the actual spatial coherence of optical harmonics at short wavelengths (&lt; 1000 Å). Measurements of harmonic far field profiles have suggested that the harmonics exhibited high coherence [1,2,3], but harmonic profile measurements alone are inadequate in determining the spatial coherence of the harmonic beam [4], To address this aspect of the harmonic generation, we have conducted a series of two-slit interference measurements on harmonics in the 270 Å to 480 Å range to determine unambiguously their spatial coherence properties.
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Kuznetsov, Sergey, Sergey Kuznetsov, Yana Saprykina, Yana Saprykina, Boris Divinskiy, and Boris Divinskiy. "PHYSICAL INTERPRETATION OF WAVE BREAKING CRITERIA." In Managing risks to coastal regions and communities in a changing world. Academus Publishing, 2017. http://dx.doi.org/10.31519/conferencearticle_5b1b94019210f7.30842240.

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On the base of experimental data it was revealed that type of wave breaking depends on wave asymmetry against the vertical axis at wave breaking point. The asymmetry of waves is defined by spectral structure of waves: by the ratio between amplitudes of first and second nonlinear harmonics and by phase shift between them. The relative position of nonlinear harmonics is defined by a stage of nonlinear wave transformation and the direction of energy transfer between the first and second harmonics. The value of amplitude of the second nonlinear harmonic in comparing with first harmonic is significantly more in waves, breaking by spilling type, than in waves breaking by plunging type. The waves, breaking by plunging type, have the crest of second harmonic shifted forward to one of the first harmonic, so the waves have "saw-tooth" shape asymmetrical to vertical axis. In the waves, breaking by spilling type, the crests of harmonic coincides and these waves are symmetric against the vertical axis. It was found that limit height of breaking waves in empirical criteria depends on type of wave breaking, spectral peak period and a relation between wave energy of main and second nonlinear wave harmonics. It also depends on surf similarity parameter defining conditions of nonlinear wave transformations above inclined bottom.
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Kuznetsov, Sergey, Sergey Kuznetsov, Yana Saprykina, Yana Saprykina, Boris Divinskiy, and Boris Divinskiy. "PHYSICAL INTERPRETATION OF WAVE BREAKING CRITERIA." In Managing risks to coastal regions and communities in a changing world. Academus Publishing, 2017. http://dx.doi.org/10.21610/conferencearticle_58b4315241f49.

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On the base of experimental data it was revealed that type of wave breaking depends on wave asymmetry against the vertical axis at wave breaking point. The asymmetry of waves is defined by spectral structure of waves: by the ratio between amplitudes of first and second nonlinear harmonics and by phase shift between them. The relative position of nonlinear harmonics is defined by a stage of nonlinear wave transformation and the direction of energy transfer between the first and second harmonics. The value of amplitude of the second nonlinear harmonic in comparing with first harmonic is significantly more in waves, breaking by spilling type, than in waves breaking by plunging type. The waves, breaking by plunging type, have the crest of second harmonic shifted forward to one of the first harmonic, so the waves have "saw-tooth" shape asymmetrical to vertical axis. In the waves, breaking by spilling type, the crests of harmonic coincides and these waves are symmetric against the vertical axis. It was found that limit height of breaking waves in empirical criteria depends on type of wave breaking, spectral peak period and a relation between wave energy of main and second nonlinear wave harmonics. It also depends on surf similarity parameter defining conditions of nonlinear wave transformations above inclined bottom.
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Feng, Xingya, Richard H. J. Willden, Binzhen Zhou, and Thomas A. A. Adcock. "Numerical Analysis of Nonlinear Wave Loads on an Offshore Wind Turbine Monopile." In ASME 2019 38th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/omae2019-95161.

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Abstract Highly nonlinear extreme waves are the major, often the dominant, environmental load on offshore wind turbines. The higher-order ‘ringing’ loads associated with the nonlinear waves can cause unexpected resonance of the monopile. Hydrodynamic analysis of these harmonic loads remains a challenge due to the difficulty in extracting the bound harmonics from the force spectrum in an extreme wave event. A phase manipulation approach (four-phase combination) has been recently demonstrated to be able to separate the higher harmonic components of the wave loads in tank tests. In this work, we employ a fully nonlinear potential flow based Numerical Wave Tank (NWT) to simulate the wave diffraction by a fixed vertical column. We present a detailed study of our checks on the numerical accuracy of our model. Phase control is implemented for the wavemaker to manipulate the phase of each wave component. Focused wave groups are generated to represent the incoming extreme waves. With the four-phase decomposition, the higher harmonics of the wave loads are shown to be clearly separated. Comparisons with the existing test results show fairly good agreement at higher harmonics. The structure of the harmonic forces and moments are analysed and we reconstruct the higher harmonics based on the Stokes expansion assumption using the linear force. In addition, the effects of wave steepness on the harmonic components are discussed.
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Kim, HyungTae, KyungChan Jin, and SeungTaek Kim. "Frequency Analysis and Interpolated Spectra of Time-Limited Samples in 3D RF Imaging." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36576.

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Fast Fourier Transform (FFT) calculates integer harmonic components, but ignores other frequency components such as non-integer harmonics and non-harmonics. In a practical sampling problem, the length of a sampled signal is finite and the sampling time is minimized. Therefore, it is necessary for interpolation to improve the accuracy of frequency analysis considering 1/m harmonic components and zero-padding (ZP) technique. The proposed method was applied to a 3D RF profile measurement system and the resolution was improved to 1/m.
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Reports on the topic "Harmonis"

1

Freeden, W. Computation of Spherical Harmonics and Approximation by Spherical Harmonic Expansions,. Defense Technical Information Center, 1985. http://dx.doi.org/10.21236/ada160445.

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Jain, A. Harmonic Coils. Office of Scientific and Technical Information (OSTI), 1997. http://dx.doi.org/10.2172/1661616.

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Barnes, P. D. B1 magnet harmonics. Office of Scientific and Technical Information (OSTI), 2000. http://dx.doi.org/10.2172/15005727.

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Caspi, S., M. Helm, and L. J. Laslett. 3D field harmonics. Office of Scientific and Technical Information (OSTI), 1991. http://dx.doi.org/10.2172/5232433.

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Yang, M. J. MR harmonic quad study. Office of Scientific and Technical Information (OSTI), 1995. http://dx.doi.org/10.2172/15017144.

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Torroba, Gonzalo. A Simple Harmonic Universe. Office of Scientific and Technical Information (OSTI), 2011. http://dx.doi.org/10.2172/1032771.

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Lo, Ching-Jo. Harmony. Iowa State University, Digital Repository, 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1673.

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Gardner, C. J. Booster Double Harmonic Setup Notes. Office of Scientific and Technical Information (OSTI), 2015. http://dx.doi.org/10.2172/1172091.

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Michelotti, Leo. Making space for harmonic oscillators. Office of Scientific and Technical Information (OSTI), 2004. http://dx.doi.org/10.2172/15017029.

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Niederer, J. BNL MAD: Harmonic Analysis Commands. Office of Scientific and Technical Information (OSTI), 1996. http://dx.doi.org/10.2172/1151361.

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