Academic literature on the topic 'Observations MOZAIC'

The observations are our starting point in this book, having been obtained from research aircraft in the last two decades. Justification for this approach can be found in Section 1.3 and by noting that there are no known analytical solutions to the Navier–Stokes equation, preventing the possibility of a priori prediction of the atmosphere’s turbulent structure. We note the pioneering power spectral analysis of wind, temperature, and ozone from commercial Boeing 747 aircraft (Nastrom and Gage 1985) and the more recent data from Airbus 340 aircraft under the aegis of the MOZAIC programme (Marenco et al. 1998). Multifractal analysis was first applied to observations from an IL-12 aircraft in the tropics (Chigirinskaya et al. 1994) and has been applied to a large body of observations taken from ER- 2, WB57F, DC-8, and G4 aircraft, with dropsondes from the last of these; Chapters 2, 4 and 5 are largely devoted to the results. Many of these data were obtained in the lower stratosphere from the ER-2 in the course of investigating ozone loss in both Arctic and Antarctic regions, where there exists a reasonably well-defined, durable circulation system offering clear dynamical, chemical, and radiative signatures. A more climate-driven imperative exists to investigate the tropical upper troposphere and lower stratosphere, largely pursued with the WB57F. The recent G4 and dropsonde data were acquired in the troposphere over the eastern Pacific Ocean, in the course of investigating northern hemisphere winter storms there. The utility of balloons and then, 120 years later, from 1903, of powered aircraft for exploring atmospheric properties, were immediately obvious. The Second World War saw aircraft attaining stratospheric altitudes, revealing a very dry lower stratosphere with westerly winds in winter and easterlies in summer, with accumulation of high ozone abundances in polar regions (Brewer 1944; Dobson et al. 1945; Brewer et al. 1948; Brewer 1949; Murgatroyd and Clews 1949; Bannon et al. 1952).

The influence of Corelli on the op. 2 sonatas of Vivaldi is clear, so in some ways this lesson is a consolidation of the previous ones. It identifies three essential prerequisites to successful interpretation: an unceasing observation and scrutiny of detail, an appraisal of the implications of each detail, and the identification and internalization of the emotions inherent in the music at any given moment. The detailed Observations section incorporates discussions on exclamations, the art of gesture and the use of second position, so important in this repertoire and so often feared by violinists. Alternative methods of shifting are clearly explained and the best places to shift identified, with reference to Tartini and Leopold Mozart. The lesson discusses what the sources say about using open strings, explains why it is important to spot ornamentation within a written text and how that impacts the way we play.

Chapter 2—which may be read before chapter 1, if that is the preference of the reader—is the book’s first illustration of Sonata Theory in practice. It provides a close reading of the first movement of Mozart’s Piano Sonata in B-flat, K. 333, that simultaneously presents an introduction to the theory’s specific mode of analysis and its most central concepts and terms. Not least of its concerns are its urgings that the listener/analyst is a co-creator of the work’s meaning (resulting ultimately in a responsible hermeneutic reading): Sonata Theory analysis seeks to be an aesthetically receptive, interactive dialogue with an individual work. Even in its most language-technical moments, it tries to integrate methodical observation with a personal sensitivity to the affective contours and colors of music as music. Two other features of the book are also introduced here: a historical/contextual backdrop for the work under consideration (including dating, original purpose, and aesthetic); and the inclusion of other modes of analytical practice to suggest their compatibility with Sonata Theory.