Journal articles: 'Limončean system of notation'

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Jarrett, Jack Marius. "Musical notation system." Journal of the Acoustical Society of America 125, no. 5 (2009): 3490. http://dx.doi.org/10.1121/1.3139596.

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Liu, HsiaoYing. "A Graphical Notation Editing System (AGNES)." ACM SIGSMALL/PC Notes 17, no. 3-4 (1991): 40–46. http://dx.doi.org/10.1145/140738.140781.

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Gunawan, Hendy, Janson Hendryli, and Dyah Erny Herwindiati. "Program Konversi Citra Notasi Balok Menjadi Notasi Angka." Computatio : Journal of Computer Science and Information Systems 2, no. 2 (2018): 119. http://dx.doi.org/10.24912/computatio.v2i2.2278.

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The Image Conversion Program of Music Notation being Numeric Notation is a character recognition system that accepts input in form of music notation image that produces an output of a DOCX file containing the numeric notation from the input image. Music notation has notation value, ritmic value and written with a music stave. The system consists of four main processes: preprocessing (grayscale and thresholding), notation line segmentation, notation character segmentation, and template matching. Template matching is used to recognize the music notation that obtained after segmentation. The recognition process obtained by comparing the image with the template image that has been inputted before to the database. This system has 100% success rate on segmentation of the character and success rate 38,4843% on the character recognition with template matching.

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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 68–83. http://dx.doi.org/10.6035/artseduca.2021.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.

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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 66–81. http://dx.doi.org/10.6035/10.6035/artseduca.2020.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.

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Ni, Enzhi, Minjun Jiang, Xiaojun Ding, and Changle Zhou. "Handwriting input system of chinese guqin notation." Journal on Computing and Cultural Heritage 3, no. 3 (2011): 1–22. http://dx.doi.org/10.1145/1921614.1921616.

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Jackson, Michael. "The moon system adapted for musical notation." British Journal of Visual Impairment 5, no. 3 (1987): 93–97. http://dx.doi.org/10.1177/026461968700500305.

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Rai, Anshu, Avesh Sachan, and Vinay Kumar Verma. "Transposition revisited: New classification and notation system." Journal of Indian Orthodontic Society 50, no. 4 (2016): 228–33. http://dx.doi.org/10.1177/0974909820160405.

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Huget, M. P. "Agent UML notation for multiagent system design." IEEE Internet Computing 8, no. 4 (2004): 63–71. http://dx.doi.org/10.1109/mic.2004.6.

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Kuuskankare, Mika. "ENP: A System for Contemporary Music Notation." Contemporary Music Review 28, no. 2 (2009): 221–35. http://dx.doi.org/10.1080/07494460903322505.

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Rai, Anshu, Avesh Sachan, and Vinay Kumar Verma. "Transposition revisited: New classification and notation system." Journal of Indian Orthodontic Society 50, no. 4 (2016): 228–33. http://dx.doi.org/10.4103/0301-5742.192615.

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Bier, Agnieszka, and Zdzisław Sroczyński. "Rule based intelligent system verbalizing mathematical notation." Multimedia Tools and Applications 78, no. 19 (2019): 28089–110. http://dx.doi.org/10.1007/s11042-019-07889-3.

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van Maarseveen, Mariëtte JJ, Raôul RD Oudejans, and Geert JP Savelsbergh. "System for notational analysis in small-sided soccer games." International Journal of Sports Science & Coaching 12, no. 2 (2017): 194–206. http://dx.doi.org/10.1177/1747954117694922.

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The objective of this study was to compose an objective and detailed notational analysis system for 3 vs. 2 + GK small-sided soccer games, in which three roles are examined: attacker with ball, attacker without ball and defender. The actions and the outcome of the actions were registered for each player and in each role. Players earn points for each action and outcome according to an a priori determined scheme. Performance scores for each role are calculated as the average number of points a participant earns per trial. This notation system was tested on 19 highly talented female soccer players and validity and reliability of the system were determined. In addition, practical applications were discussed and the most important items of the notation system were determined and using only these items, a simplified notation system was proposed. The notation system has high ecological validity and can discriminate the high and low categorized players, but further development is necessary to increase the reliability of the system.

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Wu, Fu Hai Frank, and Jyh Shing Roger Jang. "Optical Music Recognition for Numbered Music Notation with Multimodal Reconstruction." Applied Mechanics and Materials 479-480 (December 2013): 943–47. http://dx.doi.org/10.4028/www.scientific.net/amm.479-480.943.

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Optical music recognition (OMR) is attracted a lot attention on different music notation system which could be so focused on Back’s C-Clefs; in contrast, it could handle complete modern music symbols. One of notation system, numbered music notation, which is literally call “simplified notation”, is popular in many Asia countries. There is a traditional Chinese hymnbook, which usually used in small group of worship, in which one page has several hymns. We propose algorithms for the recognition of those notations in camera images of the hymn, which could effectively identify score zone and lyric zone, segment notation image, classify music notation, and reconstruct scores from classified notation by their coordinates and neighborhood relationship. Those algorithms comprise the preliminary demo system by which we provide a solution for music information retrieval and reconstruction.

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Michelbrink, Markus. "A Buchholz derivation system for the ordinal analysis of KP + Π3-reflection". Journal of Symbolic Logic 71, № 4 (2006): 1237–83. http://dx.doi.org/10.2178/jsl/1164060454.

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AbstractIn this paper we introduce a notation system for the infinitary derivations occurring in the ordinal analysis of KP + Π3-Reflection due to Michael Rathjen. This allows a finitary ordinal analysis of KP + Π3-Reflection. The method used is an extension of techniques developed by Wilfried Buchholz, namely operator controlled notation systems for RS∞-derivations. Similarly to Buchholz we obtain a characterisation of the provably recursive functions of KP + Π3-Reflection as <-recursive functions where < is the ordering on Rathjen's ordinal notation system . Further we show a conservation result for -sentences.

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Spalva, Rita. "Dance Notation : a Historical Fact or a Necessity." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 495. http://dx.doi.org/10.17770/sie2014vol2.644.

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For centuries choreographers and dance theorists have been looking for ample signs to create a universal system for dance notation. Dance notation was created based on the need for a repeated staging of dances or for their preservation. However, unlike with music, no universal method of notation has been established allowing to capture dance techniques and compositions from different centuries in a single system. Nowadays, when video recording enables to capture each movement, dance or dance performance, the verbalgraphic style of dance notation can be perceived as dated an ineffective. However Latvia’s experience shows that contemporary dance teachers and choreographers have not yet abandoned the traditional notation system. The author of the article draws attention to dance notation research and analyses the need for it within dance education and in practice.

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Takkinen, Ritva. "Some observations on the use of HamNoSys (Hamburg Notation System for Sign Languages) in the context of the phonetic transcription of children’s signing." Language Acquisition 8, no. 1-2 (2005): 99–118. http://dx.doi.org/10.1075/sll.8.1.05tak.

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This paper discusses the use of the HamNoSys notation (Hamburg Notation System for Sign Languages) for the transcription of children’s signing. The notation system will be briefly described and some former descriptions of the acquisition of sign language phonology presented. The project in which HamNoSys was used is then described briefly followed by a description of the problems encountered while using the notation. Furthermore some proposals as to how to further develop the notation will be made. In conclusion the instrument can be said to be useful and, especially if revised, will be invaluable in further research.

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Chung, Kai-Han, and June-Hao Hou. "Mapping Indeterminacy and Chance through Movement Notation: A Study on Dance Improvisation." Leonardo 51, no. 3 (2018): 282–83. http://dx.doi.org/10.1162/leon_a_01570.

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A dance notation system is usually regarded as a representation tool rather than a creative tool. This paper uses the indeterminacy approach as a creativity method to assist body-based limb exercise and development. The movement notation system is constructed based on the effort action from Laban Movement Analysis. In-depth interviews provide a comprehensive insight into the choreographer’s perspective. The findings show that the notation system and body-based improvisation training are not mutually exclusive. Therefore, the use of a notation system gives dancers a better understanding of how movements interact with various stimuli, in relation to internal and external environments.

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LEE, EUGENE. "A notational system for third-tone music." Organised Sound 2, no. 3 (1997): 215–23. http://dx.doi.org/10.1017/s1355771898009066.

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Kim, Young Woon. "A Study on Maehwajeom Style Jangdan Notation System." STUDIES IN KOREAN MUSIC 50 (December 30, 2011): 43–66. http://dx.doi.org/10.35983/sikm.2011.50.43.

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Luh, Tien-Yau, Henry N. C. Wong, and Brian F. G. Johnson. "A Simple Notation System for Transition-Metal Clusters." Angewandte Chemie International Edition in English 24, no. 1 (1985): 45–46. http://dx.doi.org/10.1002/anie.198500451.

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Miao, Huai-kou, Bekele Bizuneh, and Tesfay Teklay. "Specifying hotel guestroom reservation system using Z notation." Journal of Shanghai University (English Edition) 3, no. 4 (1999): 287–92. http://dx.doi.org/10.1007/s11741-999-0006-7.

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Bogoslovskaya, Natalya Valentinovna, and Aleksandr Viktorovich Brzhezovskiy. "Ontology as a Term System of BPMN Notation." Development of education 4, no. 1 (2021): 40–46. http://dx.doi.org/10.31483/r-97797.

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Introduction. Business Process Model and Notation (BPMN) is widely used standard for modeling business processes and supported by the Object-Oriented Technology Specification Management Group (OMG). However, the BPMN 2.0 specification is quite lengthy and contains over 500 pages. Item definitions are scattered across different sections of the specification and sometimes conflict. In addition, the structure of elements and their relationships are described in the form of metamodel, but further syntactic rules are defined within the natural language text. The purpose. This article proposes an ontology that formally represents the BPMN specification. The item description is consolidated within the appropriate class, and further explanations are provided in the annotations. The taxonomic structure in an ontology provides navigation through concepts in is-a relationships. Methods. A possible way to organize terminological vocabulary is the construction of ontologies, terminological systems and the creation of terminological data banks. The open source Protégé ontology editor was chosen to form the ontology. The correctness of the resulting terminology is partly ensured by the Reasoner included in Protégé. Results. The ontology of BPMN 2.0 notation can be used in the educational process as reference, as well as to control knowledge. In addition, ontology can be used as tool for solving semantic search problems. A potentially interesting result can also be an automated synthesis procedure based on the proposed ontology of questions for tests in the LMS Moodle system or similar.

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Eccarius, Petra, and Diane Brentari. "Handshape coding made easier." Sign Language and Linguistics 11, no. 1 (2008): 69–101. http://dx.doi.org/10.1075/sll.11.1.11ecc.

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This paper describes a notation system for the handshapes of sign languages that is theoretically motivated, grounded in empirical data, and economical in design. The system was constructed using the Prosodic Model of Sign Language Phonology. Handshapes from three lexical components — core, fingerspelling, and classifiers — were sampled from ten different sign languages resulting in a system that is relatively comprehensive and cross-linguistic. The system was designed to use only characters on a standard keyboard, which makes the system compatible with any database program. The notation is made relatively easy to learn and implement because the handshapes, along with their notations, are provided in convenient charts of photographs from which the notation can be copied. This makes the notation system quickly learnable by even inexperienced transcribers.

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Jenkins, R., R. Manne, R. Robin, and C. Sénémaud. "Nomenclature, Symbols, Units and Their Usage in Spectrochemical Analysis VIII Nomenclature System for X-Ray Spectroscopy." Powder Diffraction 6, no. 2 (1991): 95–101. http://dx.doi.org/10.1017/s0885715600017085.

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AbstractThis report is one of a series on the nomenclature for spectrochemical analysis issued by the International Union of Pure and Applied Chemistry. It concerns a new notation for X-ray emission lines and absorption edges, to be called IUPAC NOTATION, which replaces the existing Siegbahn notation. It is based upon the energy level designation and has the advantage of being simple and easy to apply to any kind of transition. Moreover, it is consistent with the notations used in electron spectroscopy.The document first discusses the terms currently used in X-ray spectroscopy and then describes the principles of the IUPAC notation with reference to the X-ray levels and the X-ray transitions. The correspondence between Siegbahn and IUPAC notations for all X-ray lines is given in a table. Finally, the document gives the units and conversion factors used in the X-ray range.

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Wier, Alan P. "New Directions in Task Analysis." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 37, no. 15 (1993): 1037. http://dx.doi.org/10.1177/154193129303701509.

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A demonstration of a new graphic notation system which expands the existing symbol set associated with operational sequence diagrams. The notation system is being developed as part of a computer-aided instructional program created for undergraduate students involved in human factor studies. The basic premise of the notation system is to enhance the practitioners understanding of human-machine processes during task analysis and operational sequence diagramming. The author can be contacted at the Department of Industrial Design, 380 Hopkins Hall, The Ohio State University, Columbus, Ohio. Telephone: 614 292-7311; email address, awier@magnus.acs.ohio-state.edu

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Davis, Vicki. "The Do-Re-Mi System of Music Notation Shorthand." Music Educators Journal 91, no. 2 (2004): 62. http://dx.doi.org/10.2307/3400062.

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Lee, Ji-Soo. "An Ancient Borrowed Notation System of “Jŏgŭ Taishi Bloodline”." Japanese Language Association Of Korea 58 (December 31, 2018): 135–49. http://dx.doi.org/10.14817/jlak.2018.58.135.

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Rhayma, Noureddine, Aurélie Talon, Pierre Breul, and Patrick Goirand. "Mechanical investigation of tunnels: risk analysis and notation system." Structure and Infrastructure Engineering 12, no. 3 (2015): 381–93. http://dx.doi.org/10.1080/15732479.2015.1019892.

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Roose, Lars D. "Complete transposable notation and keyboard music system for typists." Journal of the Acoustical Society of America 82, no. 5 (1987): 1863. http://dx.doi.org/10.1121/1.395727.

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dos Reis, J., and V. Hazan. "Speechant: a vowel notation system to teach English pronunciation." ELT Journal 66, no. 2 (2011): 156–65. http://dx.doi.org/10.1093/elt/ccr019.

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Bukspan, Yael. "Kinetic musimple — a computerized mathematically oriented music notation system." Mathematical Modelling 8 (1987): 107–11. http://dx.doi.org/10.1016/0270-0255(87)90551-3.

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AYANGIL, RUHI. "Western Notation in Turkish Music." Journal of the Royal Asiatic Society 18, no. 4 (2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.

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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.

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Wimalarathna, Aruna. "I-implant notation system: A fundamental implant location system in clinical dentistry." Journal of Interdisciplinary Dentistry 10, no. 1 (2020): 44. http://dx.doi.org/10.4103/jid.jid_57_19.

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Haumahu, John Pierre. "Recognition of Beam's Music Notation Patterns Using Artificial Neural Networks with The Backpropagation Method." JOURNAL OF INFORMATICS AND TELECOMMUNICATION ENGINEERING 3, no. 1 (2019): 41. http://dx.doi.org/10.31289/jite.v3i1.2557.

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<p class="8AbstrakBahasaIndonesia"><span>The beam notations is officially used as the standard of international music notation, and is often found in scores for both musical instruments and vocals. In Indonesia, the use of numerical notation is more widely used and understood, because the learning process of notation beams is not easy, and takes time for the introduction of each symbol and its meaning. The pattern recognition technology makes it possible to recognize the pattern of the beam notations. The software used for system development is Matlab, utilizing artificial neural network using backpropagation method to recognize the pattern of beam notation. Backpropagation is a supervised learning method, where the system will be given the training first, and then the system can understand and identify patterns based on the knowledge gained. The final result shows that the system is able to recognize patterns from notations that have been previously studied with the highest percentage of 91.20%.</span></p>

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Iwaszkiewicz, Jan, and Adam Muc. "State and Space Vectors of the 5-Phase 2-Level VSI." Energies 13, no. 17 (2020): 4385. http://dx.doi.org/10.3390/en13174385.

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The paper proposes a general description system of the five-phase two-level inverter. The two base methods are presented and discussed. The first one is based on the standard space vector transformation, while the other uses state vectors which enable the definition of the basic physical quantities of the inverter: current and voltage. The proposed notation system offers a general simplification of vector identification. It comprises a standardized proposal of notation and vector marking, which may be extremely useful for the specification of inverter states. The described notation system makes it possible to reach correlation between state and space vectors. It presents space and state vectors using the same digits. These properties suggest that the proposed notation system is a useful mathematical tool and may be really suitable in designing control algorithms. This mathematical tool was verified during simulation tests performed with the use of the Simulation Platform for Power Electronics Systems—PLECS.

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Dharmajaya, Gede Putra, and I. Dewa Made Bayu Atmaja Darmawan. "Tempo Tracking on Guru Ding Dong Transcript using Connected Component Labeling (CCL) Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 2 (2020): 137. http://dx.doi.org/10.24843/jlk.2019.v08.i02.p05.

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Music notation is a system of writing musical expressions as outlined in the form of symbols in the form of numbers or blocks. Music notation is used to document the composer's work in the form of songs so that it can be used by the public. In Balinese culture there is also a musical notation called Guru Ding Dong's Notation. This study discusses the segmentation of guru ding dong transcript to determine the tempo of each notation using the Connected Component Labeling method and the rule-based method. CCL algorithm applies Graph theory, where all pixels in an area that have a relationship with obeying the rules of pixel proximity will become a new image. The image that can be processed by the CCL algorithm is a binary image. In addition, this study also uses the image preprocessing method for initial data processing, namely grayscaling and binarization. The system built for research uses the MATLAB 2017b application. The results of the test resulted in an accuracy of the successful identification of characters and the tempo of each notation of 82%, this is influenced by the preprocessing process where there is a lot of noise in the image.

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Milic-Aleksic, Maja, and Marina Radulj. "Architectural notation and design process." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 189–97. http://dx.doi.org/10.2298/fuace161005014m.

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The paper tackles the specific nature of relations between architectural notations and design process from the aspect of architectural media, viewed as the place of articulation of architectural opinion. Creative process of thinking is possible to notate via various architectural media. Each medium has its own specific internal mechanism of abstraction inciting imagination and creativity. The paper tackles specific practice of architectural design in the contemporary research through the project. This issue is of great importance having in mind the access to methodology of architectural design within education system.

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Chen, Steve Shihong, and J. Richard Dennis. "Linking Different Cultures by Computers: A Study of Computer-Assisted Music Notation Instruction." Journal of Educational Technology Systems 21, no. 3 (1993): 207–24. http://dx.doi.org/10.2190/cyr8-7en1-ldme-cru0.

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CAMNI, which stands for Computer-Assisted Music Notation Instruction, is self-educational software designed and developed with HyperCard. This program features interactive hypermedia (inter-linked musical notation knowledge, musical tempo controlled by the user, the use of digital sounds and animation), multiple representation mode (the staff notation, the number notation, the letter name of notes and the piano keyboard, four representations are linked and can be switched from one to another easily or presented at the same time in terms of a user's need), graphical user interface “GUI,” context-sensitive-sound icon (the use of a sound icon in lesson navigation and sub-index design), direct manipulation (pointing and clicking objects to interact with the program), and self-directed but computer-context-sensitive-guided environment (multi-path navigation characterized by an author-designed but user-defined and individualized learning approach). The CAMNI was specifically designed for Chinese students who would like to study the staff notation whether or not they have background with the number notation (the traditional Chinese musical notation system).

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Fortes, Fabrício Pires. "A Distinção Gráfico-Linguístico e a Notação Musical." Philosophy of Music 74, no. 4 (2018): 1465–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1465.

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This paper examines the traditional musical notation from the viewpoint of the general problem concerning the types of visual representations. More specifically, we analyze this system in relation to the distinction between graphical and linguistic representations. We start by comparing this notation with the representational systems which are most commonly associated with such categories: on the one hand, pictorial representations as an example of a graphical representation; on the other hand, verbal writing usually associated with a linguistic representation. Then, we examine the traditional musical notation in relation to different ways of drawing the distinction graphic–linguistic, and we evaluate the applicability of such criteria to the former system. Finally, we present some general remarks about the legitimacy of this distinction both with respect to representational systems in general and to the specific case of the traditional musical notation.

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Fischer, I. S. "A Complete Notation for Dual Velocity." Journal of Mechanical Design 114, no. 2 (1992): 263–68. http://dx.doi.org/10.1115/1.2916941.

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A notation is developed which specifies a dual velocity without ambiguity. The point of interest, the moving body, the reference body, and the system of unit vectors in which a dual velocity is expressed are all clearly indicated. The equivalence between the equation of transformation and the coordinate-transformation matrix formulation is shown. Equations are developed to enable calculation of the dual velocity at a point in a body given the dual velocity at any other point, to change the system of unit vectors in which a dual velocity is expressed, and to calculate relative velocities. Use of these equations is demonstrated in an example using the spatial four-bar mechanism which is specialized to the Cardan joint and the wobble-plate mechanism, and the effect of some tolerance errors on output velocity is shown.

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DeCaria, Alex J., and Todd D. Sikora. "Momentum Advection and the Gradient of a Vector Field: A Discussion of Standard Notation." Journal of the Atmospheric Sciences 67, no. 4 (2010): 1287–91. http://dx.doi.org/10.1175/2009jas3393.1.

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Abstract The confusion and ambiguity in the literature regarding the notation (V · ∇)V versus V · ∇V is discussed, and the equivalence of the two expressions is demonstrated. The invariance of this notation in any coordinate system is also shown.

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Thompson, Tommy E., L. J. Grauke, and E. F. Young. "Pecan Kernel Color: Standards Using the Munsell Color Notation System." Journal of the American Society for Horticultural Science 121, no. 3 (1996): 548–53. http://dx.doi.org/10.21273/jashs.121.3.548.

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The Munsell Color System was used to define pecan [Carya illinoinensis (Wangenh.) K. Koch] kernel colors and color changes for 21 clones, 11 locations, and 4 storage methods for nuts collected over a 4-year period. Hue readings ranged from 10.0 (10 red) to 22.5 (2.5 yellow). Value readings ranged from 2.5 to 8.0, and chroma readings ranged from 1.0 to 8.0. A total of 91 color chips (individual combinations of hue, value, and chroma) were needed to describe kernel color variability. In 1987 and 1988, one color [15.0/5/4 (hue/value/chroma)] accounted for 3,979 of the 32,078 readings taken, and the 15 most common colors accounted for 80.7% of all the readings. The Munsell system of color determination was well suited for pecan color determinations. A simplified color rating system with only six color classes was developed for general use by the pecan industry. This system is also routinely used in our breeding and genetics program to define this very important quality trait in pecan.

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김혜지 and Sung-Hee Lee. "Key Pose-Based Ballet Scoring Using Benesh Movement Notation System." Official Journal of the Koeran Society of Dance Science 33, no. 4 (2016): 125–48. http://dx.doi.org/10.21539/ksds.2016.33.4.125.

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Clayden, B., and A. E. Hewitt. "A new system of horizon notation for New Zealand soils." CATENA 20, no. 4 (1993): 405–10. http://dx.doi.org/10.1016/s0341-8162(05)80007-4.

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Behrens, Jörn. "A Mathematics Inspired Notation of Scales in the Climate System." Geosciences 8, no. 6 (2018): 213. http://dx.doi.org/10.3390/geosciences8060213.

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Greniewski, Marek J. "Selected MRP II Standard System requirements presented in Z‐notation." Kybernetes 38, no. 7/8 (2009): 1216–33. http://dx.doi.org/10.1108/03684920910976925.

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JaeHyeon, 김혜진, and 강상조. "Assessment System of Performance using Computerized Pass-Notation for Soccer." Korean Journal of Measurement and Evaluation in Physical Education and Sports Science 10, no. 3 (2008): 51–63. http://dx.doi.org/10.21797/ksme.2008.10.3.003.

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Entringer, Tulio Cremonini, Ailton da Silva Ferreira, Denise Cristina de Oliveira Nascimento, Luciano Jose de Oliveira, Oscar Lewandowski, and Paulo Mauricio Tavares Siqueira. "Reference Model in BPMN Notation for a Production Scheduling System." International Journal of Advanced Engineering Research and Science 5, no. 11 (2018): 66–78. http://dx.doi.org/10.22161/ijaers.5.11.12.

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Frolov, A. N., and M. V. Zubkov. "Limitwise monotonic functions relative to the Kleene’s Ordinal Notation System." Lobachevskii Journal of Mathematics 35, no. 4 (2014): 295–301. http://dx.doi.org/10.1134/s1995080214040167.

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Journal articles on the topic 'Limončean system of notation'

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