Relevant bibliographies by topics / Solo with organ

Contents

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

Academic literature on the topic 'Solo with organ'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Solo with organ"

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Derr, Ellwood, George Frideric Handel, Peter Williams, Georg Friedrich Handel, Ton Koopman, and Jan Kleinbussink. "Organ Concertos, op. 7; Organ Solo." Notes 47, no. 3 (March 1991): 953. http://dx.doi.org/10.2307/941938.

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Dodd, Mary Ann, and William Albright. "Chasm: [For] Organ Solo." Notes 54, no. 1 (September 1997): 280. http://dx.doi.org/10.2307/899982.

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Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age." Nineteenth-Century Music Review 12, no. 1 (June 2015): 95–117. http://dx.doi.org/10.1017/s1479409815000063.

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While organs had been built in the United States since the eighteenth century, until the middle of the nineteenth century what passed as an ‘organ concert’ consisted of a mélange of transcriptions from choral music and simple improvisations, interspersed with choral music and vocal solos. As larger organs began to appear by the middle of the nineteenth century, solo organ recitals by players such as George W. Morgan were occasionally performed. In the 1850s Americans such as Dudley Buck and John K. Paine travelled to Germany to study organ performance and composition, and others followed. The opening of a large organ in Boston's Music Hall in 1863 and the building of large churches in the post-war period gave impetus to public organ recitals, which along with compositions by Bach, Mendelssohn, Rinck and Batiste etc. usually included transcriptions from operas and orchestral works, and compositions by the performers. At first, the emphasis was on Germanic music, but as the second half of the century progressed and more organists were studying abroad, works by British and French composers began to appear. By the end of the century the emphasis had become strongly French, particularly after the concert tours of Parisian virtuoso Alexandre Guilmant, and America's first true concert organist, Clarence Eddy, began making tours to European countries. By this time many large organs had been built for concert halls, cathedrals, colleges, and urban churches, providing excellent venues for solo organ recitals as the twentieth century opened.
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Dankner, Laura, and Douglas Coombes. "Missa pro civitate Kortrijk; Soprano Solo, SSA, Organ or Piano." Notes 41, no. 3 (March 1985): 604. http://dx.doi.org/10.2307/941205.

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Bochkova, Tatiana R. "The German Baroque Solo Organ Sonata in the Work of Theophilus Andreas Volckmar." Vestnik of Saint Petersburg University. Arts 10, no. 3 (2020): 380–97. http://dx.doi.org/10.21638/spbu15.2020.301.

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Nouralizadeh, Akbar, Hamid Pakmanesh, Abbas Basiri, Mohammad Aayanifard, Mohammad Hossein Soltani, Ali Tabibi, Farzaneh Sharifiaghdas, et al. "Solo Sonographically Guided PCNL under Spinal Anesthesia: Defining Predictors of Success." Scientifica 2016 (2016): 1–7. http://dx.doi.org/10.1155/2016/5938514.

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Aim. Sonography has been brought in percutaneous nephrolithotripsy (PCNL) as an adjunct to or substitute for X-ray to restrict radiation exposure. This study was designed to investigate the possible predictors for the success of the solo sonographically guided PCNL.Methods. 148 consecutive cases were prospectively enrolled. All steps of PCNL were performed solely with sonography guidance under spinal anesthesia. Residual stones were evaluated the day after surgery using sonography and plain radiography.Results. The mean age was46±15years; 40% of kidneys had hydronephrosis. The mean stone burden was504±350 mm2. The mean duration of surgery was43±21minutes. The early stone-free rate was 92% in inferior or middle calyceal stones, 89.5% in single pelvic stones, 81.5% in partial staghorn stones, and 61.9% in staghorn stones. The mean residual stone size was13±8 mm. Logistic regression showed that a lower age and a larger stone burden significantly predicted positive residual stones. Fifteen percent of patients presented with grade I or II and six percent showed grade III complication based on Clavien classification. There was no cases of organ injury or death.Conclusion. Solo ultrasonographically guided PCNL under spinal anesthesia is feasible with an acceptable stone-free rate and complication rate.
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Muller, Rene J. "A Significant Upper Arm Injury Sustained While Learning Simon Preston's Alleluyas: A Proposal for Avoiding this Malady." Medical Problems of Performing Artists 31, no. 4 (December 1, 2016): 244. http://dx.doi.org/10.21091/mppa.2016.4042.

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Simon Preston’s Alleluyas is an organ solo of moderate difficulty written partly in the tonal language of Olivier Messiaen. While learning this piece, I experienced a slight discomfort in my right upper arm. A more severe pain developed later, over several weeks, and my right hand became partially paralyzed. Full recovery took almost 2 months. … My reversible injury was caused by playing just six bars, and it may owe something to the way I “handled” this brief section, or more likely, “footed” it.
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Berg, Darrell M. "C. P. E. Bach's Organ Sonatas: A Musical Offering for Princess Amalia?" Journal of the American Musicological Society 51, no. 3 (1998): 477–519. http://dx.doi.org/10.2307/832037.

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This article presents a history of the prelude and six sonatas, Wq 70/1-7, that Carl Philipp Emanuel Bach reputedly wrote for Princess Anna Amalia of Prussia. As a musical patron of mid-eighteenth-century Berlin, the princess was second only to her brother, Frederick the Great. Her library of musicalia (the Amalien-Bibliothek), celebrated in her lifetime, is still of paramount importance to scholars. The present study offers solutions to two mysteries surrounding the works of Wq 70: the absence of all but one from the Amalien-Bibliothek and the conflict of late eighteenth-century accounts of Bach's solo organ works with the canon established in the catalogues of Alfred Wotquenne and Eugene Helm. It considers the role that the princess's conservative musical taste probably played in the acquisition of scores for her collection. It investigates the reception of the works of Wq 70, not only by Bach's royal patroness, but by publishers and a large clientele of keyboardists of his time, and considers the circulation of these compositions in versions for stringed keyboard instruments-far more fashionable in the second half of the eighteenth century than the organ.
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Archbold, Lawrence. "Review: Motets for One Voice by Franck, Gounod, and Saint-Saëns: The Organ-Accompanied Solo Motet in Nineteenth-Century France." Music and Letters 85, no. 4 (November 1, 2004): 690–92. http://dx.doi.org/10.1093/ml/85.4.690.

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Culligan, P., P. Littman, C. Salamon, J. Priestley, and A. Shariati. "Subjective and Objective Findings ≥ 1 Year after Placement of the AVAULTA SOLO® Vaginal Mesh System to Correct Pelvic Organ Prolapse." Journal of Minimally Invasive Gynecology 16, no. 6 (November 2009): S25. http://dx.doi.org/10.1016/j.jmig.2009.08.092.

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Dissertations / Theses on the topic "Solo with organ"

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Kang, Hyejin. "Unity within diversity in Leo Sowerby's solo organ works /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983126.

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Farr, Stephen John. "The solo organ and harpsichord works of Judith Bingham." Thesis, University of Surrey, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.656323.

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The portfolio contains three elements in addition to a live recital. The first is a thesis based substantially on the author's experience of collaboration with the British composer Judith Bingham between 2011 and 2013 in the preparation and performance/recording of three commissioned works for solo organ or harpsichord. The study examines Bingham's work in the selected genres from a number of viewpoints. Specific analytical, technical and aesthetic questions are all examined in the course of the text, which draws on a range of new material, including autograph scores of unpublished early works and interviews and correspondence with Bingham herself and with recent interpreters of her work. The study will, it is hoped, assist in establishing a context within which performers of Bingham's works might develop their interpretations. The second element is a set of five recordings (both live and commercial) which feature two of the works commissioned from Bingham, alongside other repertoire. These recordings illustrate particular aspects of the performance issues discussed in the thesis - specifically notions of 'sonic authenticity' in Bingham's work - and also explore notions of the relationship between old and new compositional idioms, a concept which was fundamental to the composition of one of the commissioned works. The third element of the portfolio, comprising two published articles on performance issues in Alain's organ works, considers issues of textual 'authenticity' and its influence on interpretative outcomes in the performance of 20th century organ music.
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Lloyd, S. Andrew. "Études: Five Compositional and Technical Studies for Solo Organ." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc499990/.

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Études was composed as a set of five interrelated movements in the followingorder: Prelude, Introduction and Fugue, Triptych, Chorale, and Response. The pieces are compositional as well as technical studies. The movements specifically explore certain styles and forms unique to organ music, and reintroduce these elements in creative ways. As in the traditional étude, each movement contains virtuosic technical studies, which are designed to enhance manual and pedal facility and prepare the performer for advanced repertoire.
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Olford, Gertrude Carolyn. "Four organ recitals and an essay, selected Canadian solo organ music, 1981-1996 : introduction and annotated catalogue." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23105.pdf.

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Pinson, Donald Lynn. "History and current state of performance of the literature for solo trombone and organ." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9050.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 1, 2004, Jan. 31, 2005, Jan. 30, 2006, and Apr. 21, 2008. Includes bibliographical references (p. 50-64), and discography (p. 41-49).
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Whitehouse, Matthew Robert. "Pleiades Visions for Organ Solo: A Composition Supported by Documented Research." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/265366.

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Pleiades Visions is a three-movement work for organ solo inspired by indigenous music and mythology associated with the Pleiades (Seven Sisters) star cluster. Three cultural groups are represented in Pleiades Visions. The first movement, entitled "Uluru," draws from Australian Aboriginal music and mythology. The second movement, entitled "...life on other worlds," is based loosely on a Quechan (Yuman) Indian song. The concluding movement, entitled "Mauna Kea," is inspired by the opening lines of the Kumulipo, a creation chant of the Native Hawaiian culture. The source material for Pleiades Visions was identified through research incorporating techniques from the fields of cultural astronomy and ethnomusicology. This research represents a new line of inquiry for both fields. This document situates Pleiades Visions in the context of the organ literature, and suggests that Pleiades Visions might be the first organ work with a cultural astronomy inspiration. It also describes the research undergirding Pleiades Visions, demonstrates the manner in which that research informed the composition of the work, and addresses issues surrounding the use of indigenous source material in a culturally sensitive manner.
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Pinson, Jr Donald Lynn. "History and Current State of Performance of the Literature for Solo Trombone and Organ." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9050/.

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More than 200 compositions have been written for solo trombone and organ since the nineteenth century, including contributions from notable composers such as Franz Liszt, Gustav Holst, Gardner Read, Petr Eben, and Jan Koetsier. This repertoire represents a significant part of the solo literature for the trombone, but it is largely unknown to both trombonists and organists. The purpose of this document is to provide a historical perspective of this literature from the nineteenth century to the present, to compile a complete bibliography of compositions for trombone and organ, and to determine the current state of performance of this repertoire. This current state of performance has been determined through an internet survey, a study of recital programs printed in the ITA Journal, a study of recordings of this literature, and interviews and correspondence with well-known performers of these compositions. It is the intention of this author that this document will serve to make the repertoire for trombone and organ more accessible and more widely known to both trombonists and organists.
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Teteris, Melisandra Elizabeth. "The solo horn and organ tradition| An analysis of Peteris Vasks's "Musique du Soir"." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10131633.

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The compositional pairing of horn and organ is less common, in comparison to the more popular combination of trumpet and organ, perhaps a result of this pairing being a more recent development in Western art music. In the second half of the twentieth century, composers showed an increased interest in combining the horn and organ particularly in France, the United States, and Eastern Europe. In Paris, the influence of the French organ school was a prime motivator in this ensemble shift along with the desire amongst composers to explore new timbral options. This horn and organ pairing had an influence on the works of Latvian composer Pēteris Vasks, whose catalog includes many compositions for organ in addition to one solo composition for horn with organ accompaniment—Musique du Soir (1988).

This study includes an analysis of cultural context, form, and oral history methodologies. In order to gain insight into the reasoning for the late development of the horn and organ pairing, it is important to understand the influences and arrangements that came out of France in the first half of the twentieth century, the compositional mind-set that was popular in the mid-twentieth century in regards to the fixation upon new timbres and ensembles, and the issue of horn with a piano accompaniment as a mundane entity. Musique du Soir (1988), is based on themes of nature and is composed in a free form that reflects the freedom in nature. A formal and melodic analysis will examine these features and explore how they work within this piece. In addition, information from personal interviews with the composer will give insights into Vasks' compositional process and provide a detailed look at the importance of the horn and organ pairing to the composer.

Pēteris Vasks, an important figure within Latvian art music, and his horn and organ work exemplifies the richness of tradition within his compositions and the importance that he has placed in Latvian art music, an often overlooked genre.

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Hamilton, Thomas Keith. "The liturgical organist: the creative use of solo organ music in the Lutheran liturgy." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1463.

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Sunday after Sunday, liturgical organists are faced with the challenge of providing music for liturgy. While hymns, psalms, musical settings of liturgical texts, choral anthems and responses are often made clear in their choice due to the marriage of text and music, choosing music outside of those parameters is a challenge. Music that happens prior to worship as the community gathers, music to accompany ritual actions such as the presentation of the offering or the distribution of the Eucharist, and music that sends people on their way at the end of the service is not something to be taken lightly. Such choices are important and can have a significant effect on the over-all tenor of the liturgy. Many organists have concluded the most efficient and effective solution is to seek pieces which are based on the hymns sung by the assembly and trust that a cohesive liturgical whole has been created. This essay attempts to move beyond that notion into the realm of solo organ literature that is not derived from a chorale or hymn melody. Each piece of music carries its own aesthetic characteristics, and the task of the liturgical organist is to determine how those characteristics can best be incorporated into a given religious celebration.
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Secan, Stephen. "A transcription of Jean Francais's L'Horloge De Flore for solo oboe and organ (Four Hands)." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1117569047.

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Books on the topic "Solo with organ"

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Albright, William. Chasm: Organ solo. [S.l.]: Henmar Press, 1995.

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Pinkham, Daniel. Second organbook: Organ solo. New York, NY: C.F. Peters, 1994.

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Mamlok, Ursula. Festive sounds: Organ solo. New York: C.F. Peters, 1999.

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Pinkham, Daniel. First organbook: Organ solo. New York: C.F. Peters, 1993.

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Amalia, Anna. Figurierte Choräle: For solo organ. Pullman, WA: Vivace Press, 1996.

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Camidge, Matthew. Six concertos for solo organ. Pullman, WA: Vivace Press, 1995.

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Paulus, Stephen. Organ concerto for solo organ, timpani, percussion and strings. Valley Forge, Pa: European American Music, 1992.

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Pinkham, Daniel. The book of hours: Organ solo. Boston: ECS Pub., 1993.

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Albright, William. Symphony for organ: Organ solo with percussion (or pre-recorded tape). New York: Henmar Press, 1993.

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Oberdoerffer, Fritz. Fantasy and fugue in E minor, organ solo. New York: C.F. Peters, 1985.

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Book chapters on the topic "Solo with organ"

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Macmillan, David W. C., and Sebastian Rendler. "Enantioselective Organo-SOMO Catalysis: a Novel Activation Mode for Asymmetric Synthesis." In Asymmetric Synthesis II, 87–94. Weinheim, Germany: Wiley-VCH Verlag GmbH & Co. KGaA, 2013. http://dx.doi.org/10.1002/9783527652235.ch12.

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Graber, Glenn C. "Should Abnormal Fetuses Be Brought to Term for the Sole Purpose of Providing Infant Transplant Organs?" In Biomedical Ethics Reviews · 1989, 5–24. Totowa, NJ: Humana Press, 1990. http://dx.doi.org/10.1007/978-1-59259-444-3_1.

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Thomasma, David C. "Should Abnormal Fetuses Be Brought to Term for the Sole Purpose of Providing Infant Transplant Organs?" In Biomedical Ethics Reviews · 1989, 25–54. Totowa, NJ: Humana Press, 1990. http://dx.doi.org/10.1007/978-1-59259-444-3_2.

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"THE SOLE-ORGAN DOCTRINE." In Reconsidering Judicial Finality, 101–20. University Press of Kansas, 2019. http://dx.doi.org/10.2307/j.ctvqmp2sk.10.

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Pápai, I. "Organo-SOMO Catalysis." In Brønsted Base and Acid Catalysts, and Additional Topics, 1. Georg Thieme Verlag KG, 2012. http://dx.doi.org/10.1055/sos-sd-205-00456.

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"4. Organ Trafficking: Sold for Parts." In Modern Slavery, 110–44. Columbia University Press, 2017. http://dx.doi.org/10.7312/kara15846-006.

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O’Hanlon Brown, Ciara, and Jonathan Waxman. "Hormonal therapy of prostate cancer." In Oxford Textbook of Endocrinology and Diabetes, 1622–34. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780199235292.003.1149.

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Prostate cancer is the most common cancer to effect men and the second most common cause of cancer-related death. Premalignant change or prostatic intraepithelial neoplasia has been detected within the prostate glands of men under 30 years of age. The incidence of prostate cancer remains negligible until men reach their 40s from whence it rises steadily and by 80 years 70% of men have detectable tumours at autopsy (1). A majority of prostate cancers arise from the peripheral zone of the prostate and rarely cause obstructive symptoms. Consequently, prostate cancers have historically presented late, with symptoms of metastatic disease. The advent of prostate-specific antigen (PSA) testing has produced a stage shift so that at present over 90% of prostate cancers are diagnosed as organ-confined disease. PSA diagnosis has unmasked a subset of prostate tumours that exhibit an indolent growth pattern and appear destined to remain organ-confined tumours the patient dies with, and not from. US SEER data estimates a 50-year-old man has a 42% chance of developing prostate cancer but only a 3.6% chance of dying from the disease. Features, either clinical or molecular, which would allow clinicians to clearly differentiate indolent from aggressive disease while still at the organ-confined stage, have yet to be identified (1). Adenocarcinoma is the predominant histological subtype of prostate cancer, accounting for 95% of tumours. Prostatic adenocarcinomas arise from androgen receptor-positive epithelial cells. On histological examination, prostate cancers appear multifocal and demonstrate heterogeneity both within individual tumours and across populations. This has created an obstacle as researchers attempt to subclassify prostate cancer and identify the molecular defects responsible for driving prostatic carcinogenesis (1). Of prostate cancers, 80–90% are androgen receptor-positive at diagnosis (2), thus to date the androgen–androgen receptor axis is the sole molecular feature of this disease that has been successfully harnessed as a therapeutic target.
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McQueen, Sean. "Organic (De)Composition of Biocapital." In Deleuze and Baudrillard. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414371.003.0009.

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This chapter analyses the second, constitutive pole of biopower, simultaneously transitioning from the second- to third-order simulacrum: simulation. Exemplary of this pole and order is Kazuo Ishiguro's novel Never Let Me Go (2005) as well as its 2010 film version directed by Mark Romanek — both versions develop their biopolitical themes differently. Regardless, Never Let Me Go imagines an alternative England in the late 1990s in which a cloned population is born and reared for the sole purpose of having their organs harvested for therapeutic use by humans, or ‘normals’. From here, the chapter reveals the labour and surplus-value of ‘necrocapital’, the negative image of biocapital, and how the system itself cancels the difference between the dead and the living, and kills only to resurrect.
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Stark, Johanna. "Law as a Contested Commodity." In Law for Sale, 125–74. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198839491.003.0006.

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Several types of philosophical arguments have been offered as to why some things should not, or cannot, consistently be bought and sold, such as human organs, Nobel Prizes, or democratic votes. Starting from the debate about so-called ‘contested commodities’, this chapter deals with the commodification of law itself and discusses whether philosophical criticism regarding the commodification of certain types of goods and practices is applicable in the context of law as a product as well. The argument’s starting point is that regulatory competition leads to the law being perceived as a commodity that is subject to the market mechanism. It proceeds with a discussion of the premise that the market mechanism comes with its own kind of valuation, with the price mechanism serving as the primary indicator of value. Criticism of commodification and commercialization is often based on the perception that market valuation tends to be dominant over other evaluative standards, sometimes ‘crowding out’ considerations that cannot be directly translated into market vocabulary. Under conditions of regulatory competition, there is a case to be made that some of the normative considerations, the values and principles that underlie legal rules would in case of conflict be ‘crowded out’ by the imperatives of success in a global law market.
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Langston, Nancy. "Endocrine Disruptors in the Environment." In Controversies in Science and Technology. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199383771.003.0016.

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Since World War II, the production of synthetic chemicals has increased more than 30-fold due to the post-war boom in petrochemical exploration, manufacture, and marketing. The modern chemical industry, now a global enterprise of $2 trillion annually, is central to the world economy, as it generates millions of jobs and consumes vast quantities of energy and raw materials. Today, more than 70,000 different industrial chemicals are synthesized and sold each year (Chandler 2005; McCoy et al. 2006). New technologies and methods for the detection of these synthetic chemicals have drawn increasing attention to the pervasive and persistent presence of hormone-disrupting chemicals in our lives. Hormones—the chemicals that deliver messages throughout the body in order to coordinate physical processes—are deeply sensitive to external interference, and the consequences of such interference are becoming ever more apparent. In July 2005, the Centers for Disease Control (2005) released its Third National Report on Human Exposure to Environmental Chemicals, revealing that industrial chemicals now permeate bodies and ecosystems. Many of these chemicals can interfere with the body’s hormonal signaling system (called the endocrine system), and many persistently resist the metabolic processes that bind and break down natural hormones. More than 358 industrial chemicals and pesticides have been detected in the cord blood of minority American infants (Environmental Working Group 2009). Accumulating data suggests that reproductive problems are also increasing across a broad range of animals, from Great Lakes fish to people. Many researchers suspect that the culprits are environmental exposures to synthetic chemicals that disrupt hormonal signals, particularly in the developing fetus. Endocrine-disrupting chemicals are not rare; they include the most common synthetic chemicals in production, such as many pesticides, plastics, and pharmaceutical drugs. Since World War II, synthetic endocrine-disrupting chemicals have permeated bodies and ecosystems throughout the globe, potentially with profound health and ecological effects (Krimsky 2000). Hormones are chemical signals that regulate communication among cells and organs, thus orchestrating a complex process of fetal development that relies on precise dosage and timing.
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Conference papers on the topic "Solo with organ"

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Zaytseva, Yu V., A. V. Sidorov, and А. А. Bychkova. "PHOSPHATE-MOBILIZING ACTIVITY OF BACTERIA ASSOCIATED WITH UNDERGROUND ORGANS OF DACTYLORHIZA INCARNATA (L.) SOO (ORCHIDACEAE)." In The All-Russian Scientific Conference with International Participation and Schools of Young Scientists "Mechanisms of resistance of plants and microorganisms to unfavorable environmental". SIPPB SB RAS, 2018. http://dx.doi.org/10.31255/978-5-94797-319-8-1241-1243.

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Andrews, Mark P., Nicolas Belanger, and Shao-Wei Fu. "Optical self-inscription in waveguides and pattern formation in sol-gel derived nanophase organo-silica films." In Optics & Photonics 2005, edited by Martin W. McCall, Graeme Dewar, and Mikhail A. Noginov. SPIE, 2005. http://dx.doi.org/10.1117/12.615239.

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Andrews, Mark P., Nicolas Belanger, and Shao-Wei Fu. "Optical self-inscription in waveguides and pattern formation in sol-gel derived nanophase organo-silica films." In Photonics North 2005, edited by Peter Mascher, Andrew P. Knights, John C. Cartledge, and David V. Plant. SPIE, 2005. http://dx.doi.org/10.1117/12.628645.

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Canıbek, Cihan, Gökçen Bombar, and António Heleno Cardoso. "Simetrik Akarsu Kavşaklarında Farklı Mansap Derinliklerinin Su Yüzeyi Profiline Etkisi." In International Students Science Congress. Izmir International Guest Student Association, 2021. http://dx.doi.org/10.52460/issc.2021.018.

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İki veya daha fazla akarsuyun birleşerek kavşak noktası oluşturmaları, açık kanal hidroliği alanında sık karşılaşılan bir durumdur. Kavşaklar, hidrolik açıdan önemli kontrol noktalarıdır. Kavşak içinde memba ve mansap derinliklerinin bilinmesi oluşacak yük kaybının hesaplanabilmesi açısından önem arz etmektedir. İzmir Kâtip Çelebi Üniversitesi Hidrolik Laboratuvarı’nda bulunan deney düzeneği üzerinde gerçekleştirilmiş bu çalışmada,yan kollardan gelen debi sabit tutularak mansap derinliği değiştirilerek yan kollar ve ana kanal boyunca akım derinlikleri ölçülmüştür. Simetrik 90° açıyla birleşen yan kolların genişliği 1 m, ana kanalın genişliği ise 2 m olup yan kollar ile ana kanalın taban kotları eşit olacak şekilde düzenlenmiştir. Akım derinlikleri, limnimetre vasıtasıyla ölçülmüş olup önce taban kotları ölçülmüş, daha sonra su yüzey kotları ölçülmüştür. Ölçümler, ana kanalda, her 50 cm’de bir, yan kollarda ise her 25 cm’de bir yapılmıştır. Çalışmada, ana kanalda Froude sayıları 1’den küçük olup akım, nehir rejiminde olmuştur. Bu çalışmada sağ kolun debisi 29,61 l/s, sol kolun debisi 20 l/s olup ana kanaldaki toplam debi 49,61 l/s’dir. Mansap kısmında bulunan kapak vasıtasıyla mansap akım derinliği ayarlanmıştır. Gerçekleştirilen deneylerde mansap akım derinliği sırasıyla 9,3 cm 12,60 cm ve 15,35 cm olacak şekilde ayarlanmıştır. Bu koşullarda kavşak birleşim noktasında derinlik sırasıyla, 9,8 cm, 12,8 cm ve 15,75 cm olmuştur. Her 3 deneyde de ana kanalda H2 profili gözlenmiş ve kavşak birleşim noktasındaki derinlik mansap derinliğinden daha fazla olmuştur. Yan kol ve ana kanal debileri arasındaki oran ile akım derinlikleri arasındaki ilişki literatür ışığında incelenmiştir. Deneylerde taban eğimi 0 ve y>ycr olup çalışmalar nehir rejiminde yapıldığından H2 profili gözlemlenmiştir. Su yüzey profillerinde eğimler birbirine paralellik göstermiştir. Mansaptaki derinliğinin artması, su seviyesi ortalamasını artırmıştır.
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