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Journal articles on the topic 'Violin with wind ensemble'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolko

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2

Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No

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3

Corall, Georg. "The Lilien Partbooks in the Sonsfeld Collection (D-HRD Fü 3741a): A Reconsideration of the Role of Eighteenth-Century Prussian Hautboisten and their Engagement in ‘Art’ Music." Royal Musical Association Research Chronicle 49 (2018): 68–178. http://dx.doi.org/10.1080/14723808.2018.1443618.

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In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally ro

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4

Biliaieva, N. V. "Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)". Aspects of Historical Musicology 18, № 18 (2019): 171–90. http://dx.doi.org/10.34064/khnum2-18.10.

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Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding m

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5

Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T

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Strelchenko, K., and N. Dydykina. "Methods of adaptation of a pop-jazz piece for a duet performance (accordion and alto saxophone) in the samba style." Culture of Ukraine, no. 89 (June 20, 2025): 62–75. https://doi.org/10.31516/2410-5325.089.06.

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The purpose of the article. The article discusses methods of increasing the popularity rating of an accordion musical instrument (hereinafter including a bayan as well) among young people, prospective students, students, fans of this instrument by expanding the stylistic diversity of the accordionist’s concert programme (hereinafter including a bayan-player as well) through adding light music and ensemble play. This approach is one of the key ways to popularize the instrumental and performing skills of this genre. The article draws attention to creative searches in the field of interpretation

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7

Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky&rsquo;s&nbsp; Violin concerto and Piano concerto, the symphonic poems &ldquo;The Juvenile&rdquo; and &ldquo;The Winds of Siberia&rdquo;, the Symphony No 3 &ldquo;Sevastopol&rdquo;, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as:

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8

Шемет, Л. В. "СУЧАСНИЙ СТАН І ТЕНДЕНЦІЇ РОЗВИТКУ ДИТЯЧОГО НАРОДНО-ОРКЕСТРОВОГО ВИКОНАВСТВА В УКРАЇНІ". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 144–49. https://doi.org/10.5281/zenodo.1807131.

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The significant creative achievements of children’s orchestral performance in the field of domestic folk instrumental art have been a typical feature of recent decades. In this regard, the study of the peculiarities of the children’s folk orchestral performance evolution is of interest in the present. Objectives. The objectives of this study are to provide a theoretical substantiation of the current state and trends of children’s orchestral performance in the folk instrumental art of Ukraine. Methods. The methodological basis of the study comprises the interaction of scientif

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9

Rahmadinata, Melisa Fitri. "Strategi Pembelajaran Ensamble Violin Di Purwacaraka Musik Studio Padang (Violin Ensamble Learning Strategy at Purwacaraka Music Studio Padang)." Musica: Journal of Music 1, no. 2 (2021): 116. http://dx.doi.org/10.26887/musica.v1i2.2096.

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Purwacaraka Music Studio (PCMS) Padang merupakan lembaga musik nonformal yang menawarkan berbagai macam jenis les musik, salah satunya violin. Strategi pembelajaran di PCMS Padang ialah berupa les privat dengan metode satu guru satu siswa. Namun yang menjadi pembeda les di Purwacaraka dengan tempat les musik lainnya ialah adanya kegiatan ensamble untuk masing-masing instrument. Kegiatan pembelajaran secara ensamble ini merupakan kegiatan ekstra sebagai peningkatan skill siswa-siswi dalam bermain bersama. Penelitian ini memaparkan bagaimana strategi pembelajaran ensambel violin di PCMS Padang,

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10

Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

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11

Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. The

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12

O'Loughlin, Niall. "Wind Ensemble." Musical Times 128, no. 1727 (1987): 32. http://dx.doi.org/10.2307/964644.

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13

Puusaari, Maria. "'Leading' as a strategy in the performance-practice of contemporary solo violin music." Music Performance Research 11 (2024): 85–107. http://dx.doi.org/10.14439/mpr.11.4.

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The starting point for the present practice-based study was my observation of the diverse conditions regarding the focus-of-attention that occurs during chamber ensemble and solo performances of contemporary art music. As the violinist leader of a contemporary music ensemble, I focus my attention externally on multidirectional musical interactions with my fellow musicians and the audience. In contrast, when I am in a solo performance, I tend to focus more on my own internal, physical actions. More satisfactory musical results in leading interactive ensemble performances induced a hypothesis th

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14

Zhuchenko, Natalia. "Using phonograms in violin solo and ensemble performance." Art and education, no. 1-2(103-104) (2022): 31–36. http://dx.doi.org/10.32405/2308-8885-2022-1-2(103-104)-31-36.

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15

Suroso, Panji, Danny Ivanno Ritonga, Wiflihani Wiflihani, Mukhlis Mukhlis, and Tri Tri. "The Repertoire of Traditional Malay Ensemble as a Source of Violin Practice Learning Material." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 4 (2020): 1750–58. http://dx.doi.org/10.33258/birle.v3i4.1334.

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This study aims to examine in depth how the process of applying the Malay traditional music ensemble reportoar as a teaching material in practical learning to play violin instruments in unimed music education study programs in the odd semester 2020-2021.Based on the monitoring carried out by the lecturer team in the learning process to play the violin that has occurred so far, the practice of playing the violin is still being carried out with teaching material playing western classical music and playing popular music styles. This study was conducted using a qualitative approach, namely followi

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16

Fiona, Fong Fong, and Tao Li. "A Brief Analysis of Mozart Violin Sonata No.17 K.329." Arts Studies and Criticism 5, no. 2 (2024): 49. http://dx.doi.org/10.32629/asc.v5i2.2197.

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Mozart and Beethoven have achieved an important milestone in the history of western music; the two masters' works by later generations are defined as the model of classical music period; most of their works are celebrated by future generations; Mozart's opera, symphony, piano, ensemble are a contemporary palace concert hits. Mozart's violin concerto is a series of works that must be mastered by today's violinists in the process of learning, and it is also a set of pieces that must be played in today's major international music competitions. As a professional violinist, it is very important to

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17

Saulova, Inessa. "Innovative features in ”Sonata for violin and piano” by Boris Dubosarschi." Akademos, no. 4(67) (March 2023): 122–28. http://dx.doi.org/10.52673/18570461.22.4-67.16.

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The article examines the Sonata for violin and piano by B. Dubosarsky in terms of content, form and interpretative treatment. The author aims to reveal the innovative features of this work, which are manifested primarily in the interpretation of the form, combining the features of a three-part cycle and a large one-part composition. The intonation-thematic structure of the sonata, the ratio of the violin and piano parts are analyzed in detail, performing recommendations are offered for developing a creative version of the interpretation. As a result, it is concluded that the Sonata for Violin

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18

Bishop, Laura, and Werner Goebl. "Beating time: How ensemble musicians’ cueing gestures communicate beat position and tempo." Psychology of Music 46, no. 1 (2017): 84–106. http://dx.doi.org/10.1177/0305735617702971.

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Ensemble musicians typically exchange visual cues to coordinate piece entrances. “Cueing-in” gestures indicate when to begin playing and at what tempo. This study investigated how timing information is encoded in musicians’ cueing-in gestures. Gesture acceleration patterns were expected to indicate beat position, while gesture periodicity, duration, and peak gesture velocity were expected to indicate tempo. Same-instrument ensembles (e.g., piano–piano) were expected to synchronize more successfully than mixed-instrument ensembles (e.g., piano–violin). Duos performed short passages as their hea

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19

Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of t

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20

Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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21

Saulova, Inessa. "Sonatas for violin and piano by composers from the Republic of Moldova in the educational process at the Academy of Music, Theatre and Fine Arts." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 43–51. https://doi.org/10.55383/amtap.2024.2.07.

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The article provides an overview of sonatas for violin and piano by the local composers L. Gurov, V. Verhola, V. Ciolac, B. Dubosarschi, V. Rotaru used in the educational process of AMTAP in the discipline „Chamber ensemble”. It also presents the interpretive potential of these opuses, which allows musicians to improve their professional skills. The musical form and means of expression of the violin and piano parts are characterized. It is concluded that these sonatas for violin and piano are among the representative examples of National Chamber Music, and the intonational-rhythmic elements of

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Saulova, Inessa. "Sonata for violin and piano by V. Ciolac: methodical and interpretative recommendations." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(46) (December 2024): 70–76. https://doi.org/10.55383/amtap.2024.1.10.

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The article offers recommendations for the performance of the Sonata for Violin and Piano by Vladimir Ciolac, which has taken a worthy place in the pedagogical repertoire of the students of the Academy of Music, Theater and Fine Arts from the Republic of Moldova. The musical form and means of expression of the violin and piano parts are analyzed: melody, harmony, rhythm, and dynamics. It is concluded that the interpretation of the Sonata requires the performers to have a mature mindset, technical equipment and a high level of ensemble skill.

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23

Zhumabekova, Dana Zh, and Madina B. Kapeu-Kokhanova. "XTH INTERNATIONAL VIOLIN COMPETITION “ASTANA-VIOLIN” IN MEMORY OF DAVID OISTRAKH." Arts education and science 1, no. 38 (2024): 192–98. http://dx.doi.org/10.36871/hon.202401192.

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From 6 to 11 November 2023, Astana hosted the Xth International Violin Competition “Astana- Violin” in memory of David Oistrakh. The event was timed to mark the 25th anniversary of the founding of the Kazakh National University of Arts and was held with the support of the Ministry of Culture and Information of the Republic of Kazakhstan. The jury of the Xth International Violin Competition “Astana-Violin” was headed by Aiman Mussakhajayeva, People’s Artist of the Republic of Kazakhstan, Hero of Labor of Kazakhstan, Rector of KazNUI. It included People’s Artist of the Russian Federation Zakhar

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24

Kajino, Ena. "A Lost Opportunity for Tradition: The Violin in Early Twentieth-Century Japanese Traditional Music." Nineteenth-Century Music Review 10, no. 2 (2013): 293–321. http://dx.doi.org/10.1017/s147940981300027x.

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Less than a century after the introduction of the violin to Japan, in the late nineteenth century, Japan offers the highest level of training on the instrument and has produced many internationally successful violinists. Although one can hardly imagine it from the current role of the violin in modern Japan, in the early twentieth century the instrument played a significant role, not in the development there of Western classical music, but in the survival of the indigenous Japanese music that we call today ‘traditional Japanese music’.With the flood of Western culture into Japan after the Meiji

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25

Quinn, Peter. "Tigran Mansurian." Tempo 58, no. 229 (2004): 46. http://dx.doi.org/10.1017/s0040298204220228.

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MANSURIAN: Monodia. Viola Concerto (‘…and then I was in time again’); Violin Concerto; Lachrymae; Confessing with Faith. Kim Kashkashian (via), Leonidas Kavakos (vln), Jan Garbarek (ss), The Hilliard Ensemble, Münchener Kammerorchester c. Christoph Poppen. ECM New Series 472 7842 (2-CD set).

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26

Coca, Gabriela. "Musical Representation of The Religious Message in Zoltán Gárdonyi’s Három Nagyheti Kép (Three Holy Week Events)." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (2021): 361–83. http://dx.doi.org/10.24193/subbmusica.2021.2.24.

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"Zoltán Gárdonyi (1906-1986) composed his work entitled Három Nagyheti Kép (Three Holy Week Events) in 1966. At that time, he was a professor at the Liszt Ferenc Academy of Music, in Budapest. He composed the work for organ and a string ensemble (1st violin, 2nd violin, viola, cello, double bass). The work has three movements, as the title Három Nagyheti Kép (Three Holy Week Events) suggests. This paper analyses the work in question in detail, from a harmonic and formal point of view. Keywords: Gárdonyi Zoltán, Három Nagyheti Kép, Three Holy Week Events, organ, strings, harmony, forms, structu

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27

Riyadi, Lanang, and Yensharti Yensharti. "Musical Analysis Structure and Violin Playing Technique in Suzuki Violin Book." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 6, no. 2 (2023): 170–78. http://dx.doi.org/10.26740/vt.v6n2.p170-178.

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This article aims to describe and provide an overview of the analysis of the musical structure and violin playing techniques contained in the works in Suzuki Violin Book Volume 1. The research contained in this article uses a qualitative method with a systematic content analysis approach, objectivity, and generalization. The works analyzed in this research are "Twinkle, Twinkle, Little Star", "Lightly Row", and "Song of the Wind". The results show that the three works are simple works that are appropriate as teaching materials for educators in teaching students who are just learning violin ins

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28

Schuhen, Nina, Thordis L. Thorarinsdottir, and Tilmann Gneiting. "Ensemble Model Output Statistics for Wind Vectors." Monthly Weather Review 140, no. 10 (2012): 3204–19. http://dx.doi.org/10.1175/mwr-d-12-00028.1.

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Abstract A bivariate ensemble model output statistics (EMOS) technique for the postprocessing of ensemble forecasts of two-dimensional wind vectors is proposed, where the postprocessed probabilistic forecast takes the form of a bivariate normal probability density function. The postprocessed means and variances of the wind vector components are linearly bias-corrected versions of the ensemble means and ensemble variances, respectively, and the conditional correlation between the wind components is represented by a trigonometric function of the ensemble mean wind direction. In a case study on 4

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29

Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble

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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.

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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical proble

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31

Peltier, Leonard J., Sue Ellen Haupt, John C. Wyngaard, et al. "Parameterizing Mesoscale Wind Uncertainty for Dispersion Modeling." Journal of Applied Meteorology and Climatology 49, no. 8 (2010): 1604–14. http://dx.doi.org/10.1175/2010jamc2396.1.

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Abstract A parameterization of numerical weather prediction uncertainty is presented for use by atmospheric transport and dispersion models. The theoretical development applies Taylor dispersion concepts to diagnose dispersion metrics from numerical wind field ensembles, where the ensemble variability approximates the wind field uncertainty. This analysis identifies persistent wind direction differences in the wind field ensemble as a leading source of enhanced “virtual” dispersion, and thus enhanced uncertainty for the ensemble-mean contaminant plume. This dispersion is characterized by the L

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32

Muhammed, Zain, Nagamanoj Karunakaran, Pranamya P. Bhat, and Arti Arya. "Ensemble of Multimodal Deep Learning Models for Violin Bowing Techniques Classification." Journal of Advances in Information Technology 15, no. 1 (2024): 40–48. http://dx.doi.org/10.12720/jait.15.1.40-48.

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33

Baran, Sándor, and Ágnes Baran. "Calibration of wind speed ensemble forecasts for power generation." Időjárás 125, no. 4 (2021): 609–24. http://dx.doi.org/10.28974/idojaras.2021.4.4.

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In the last decades, wind power became the second largest energy source in the EU covering 16% of its electricity demand. However, due to its volatility, accurate short range wind power predictions are required for successful integration of wind energy into the electrical grid. Accurate predictions of wind power require accurate hub height wind speed forecasts, where the state-of-the-art method is the probabilistic approach based on ensemble forecasts obtained from multiple runs of numerical weather prediction models. Nonetheless, ensemble forecasts are often uncalibrated and might also be bia

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34

Puusaari, Maria. "“Leading” in contemporary music performance-practice." Trio 14, no. 1 (2025): 114–22. https://doi.org/10.37453/tj.161175.

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This artistic doctoral project explored leading as a mode of communication and interaction in contemporary music performance-practice. Leading was approached as a multidirectional, multimodal and crossmodal interactive process in three different contexts: leading in a chamber ensemble, leading in a solo violin performance and leading in a multimedia performance. The doctoral degree work included five concerts, two peer-review articles and a summary.

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35

Yan, Zixiang, Wen Zhou, Jinxiao Li, Xuedan Zhu, Yuxin Zang, and Liuyi Zhang. "Skillful Seasonal Prediction of Global Onshore Wind Resources in SIDRI-ESS V1.0." Sustainability 16, no. 17 (2024): 7721. http://dx.doi.org/10.3390/su16177721.

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The seasonal variation in wind resources has a great impact on wind energy generation, affecting the maintenance planning, operational strategies, and economic benefits of wind farms. Therefore, effective seasonal prediction of wind resources is crucial for the wind power industry. This study evaluates the seasonal prediction skill for global onshore wind resources using the SIDRI-ESS V1.0 dynamic prediction system. High prediction skill for 10 m wind speed (ws10m) is observed mainly in six regions: southern North America, northern South America, western and eastern Europe, and South and East

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Chen, Min, Hao Yang, Bo Mao, Kaiwen Xie, Chaoping Chen, and Yuanchang Dong. "An Ensemble Forecast Wind Field Correction Model with Multiple Factors and Spatio-Temporal Features." Atmosphere 14, no. 11 (2023): 1650. http://dx.doi.org/10.3390/atmos14111650.

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Accurate wind speed prediction is significantly important for the full utilization of wind energy resources and the improvement in the economic benefits of wind farms. Because the ensemble forecast takes into account the uncertainty of information about the atmospheric motion, domestic and foreign weather service forecast centers often choose to use the ensemble numerical forecast to achieve the fine forecast of wind speed. However, due to the unavoidable systematic errors of the ensemble numerical forecast model, it is necessary to correct the deviation in the ensemble numerical forecast wind

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Tasnim, Sumaira, Ashfaqur Rahman, Amanullah Maung Than Oo, and Md Enamul Haque. "Wind Power Prediction Using Cluster Based Ensemble Regression." International Journal of Computational Intelligence and Applications 16, no. 04 (2017): 1750026. http://dx.doi.org/10.1142/s1469026817500262.

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Accurate prediction of wind power is of vital importance for demand management. In this paper, we adopt a cluster-based ensemble framework to predict wind power. Natural groups/clusters exist in datasets and learning algorithms benefit from group/cluster wise learning — a philosophy that is not well explored for wind power prediction. The research presented in this paper investigates this philosophy to predict wind power by using an ensemble of regression models on natural clusters within wind data. We have conducted a series of experiments on a large number of locations across Australia and a

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Mottershead, Tim. "Manchester University: Psappha in Klas Torstensson's Violin Concerto." Tempo 67, no. 265 (2013): 80–81. http://dx.doi.org/10.1017/s0040298213000545.

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You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches

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Bodini, Nicola, Weiming Hu, Mike Optis, Guido Cervone, and Stefano Alessandrini. "Assessing boundary condition and parametric uncertainty in numerical-weather-prediction-modeled, long-term offshore wind speed through machine learning and analog ensemble." Wind Energy Science 6, no. 6 (2021): 1363–77. http://dx.doi.org/10.5194/wes-6-1363-2021.

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Abstract. To accurately plan and manage wind power plants, not only does the time-varying wind resource at the site of interest need to be assessed but also the uncertainty connected to this estimate. Numerical weather prediction (NWP) models at the mesoscale represent a valuable way to characterize the wind resource offshore, given the challenges connected with measuring hub-height wind speed. The boundary condition and parametric uncertainty associated with modeled wind speed is often estimated by running a model ensemble. However, creating an NWP ensemble of long-term wind resource data ove

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VASYLEVYCH, Marta. "FORMATION OF EXECUTIVE COMPETENCES STUDENT VIOLIN PLAYERS IN THE INSTRUMENTAL ENSEMBLE CLASS." Humanities science current issues 1, no. 83 (2025): 97–101. https://doi.org/10.24919/2308-4863/83-1-14.

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Traiteur, Justin J., David J. Callicutt, Maxwell Smith, and Somnath Baidya Roy. "A Short-Term Ensemble Wind Speed Forecasting System for Wind Power Applications." Journal of Applied Meteorology and Climatology 51, no. 10 (2012): 1763–74. http://dx.doi.org/10.1175/jamc-d-11-0122.1.

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AbstractThis study develops an adaptive, blended forecasting system to provide accurate wind speed forecasts 1 h ahead of time for wind power applications. The system consists of an ensemble of 21 forecasts with different configurations of the Weather Research and Forecasting Single Column Model and persistence, autoregressive, and autoregressive moving-average models. The ensemble is calibrated against observations for a 6-month period (January–June 2006) at a potential wind-farm site in Illinois using the Bayesian model averaging technique. The forecasting system is evaluated against observa

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Obolenska, Mariia. "Controlled anticipation as a psychological attitude of the pianist-concertmaster (on the example of M. Ravel’s Sonata № 2 for Violin and Piano)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 61–78. http://dx.doi.org/10.34064/khnum1-66.04.

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Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he sho

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Geringer, John M., Rebecca B. MacLeod, and Justine K. Sasanfar. "In Tune or Out of Tune." Journal of Research in Music Education 63, no. 1 (2015): 89–101. http://dx.doi.org/10.1177/0022429415572025.

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We studied music majors’ perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large music schools and included 50 students representing each of the following areas of applied music study: voice, wind instruments, and string instruments. Listeners heard solo trumpet, violin, and soprano performances of Ave Maria (Bach/Gounod) accompanied

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Alessandrini, Stefano, and Tyler McCandless. "The Schaake Shuffle Technique to Combine Solar and Wind Power Probabilistic Forecasting." Energies 13, no. 10 (2020): 2503. http://dx.doi.org/10.3390/en13102503.

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One way to mitigate the variability of wind and solar power generation is to install the corresponding plants in nearby locations. For example, in Kuwait, the facility at Shagaya Renewable Energy Park is located in a desert area with both photovoltaic panels and wind turbines that allow the continuous generation of renewable energy throughout the day. The National Center for Atmospheric Research (NCAR) has developed a system to generate probabilistic wind and solar predictions for the Shagaya facility. These predictions are based on the analog ensemble technique that post-processes the wind sp

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Thorarinsdottir, Thordis L., and Matthew S. Johnson. "Probabilistic Wind Gust Forecasting Using Nonhomogeneous Gaussian Regression." Monthly Weather Review 140, no. 3 (2012): 889–97. http://dx.doi.org/10.1175/mwr-d-11-00075.1.

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Abstract A joint probabilistic forecasting framework is proposed for maximum wind speed, the probability of gust, and, conditional on gust being observed, the maximum gust speed in a setting where only the maximum wind speed forecast is available. The framework employs the nonhomogeneous Gaussian regression (NGR) statistical postprocessing method with appropriately truncated Gaussian predictive distributions. For wind speed, the distribution is truncated at zero, the location parameter is a linear function of the wind speed ensemble forecast, and the scale parameter is a linear function of the

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Siuta, David, Gregory West, Roland Stull, and Thomas Nipen. "Calibrated Probabilistic Hub-Height Wind Forecasts in Complex Terrain." Weather and Forecasting 32, no. 2 (2017): 555–77. http://dx.doi.org/10.1175/waf-d-16-0137.1.

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Abstract This work evaluates the use of a WRF ensemble for short-term, probabilistic, hub-height wind speed forecasts in complex terrain. Testing for probabilistic-forecast improvements is conducted by increasing the number of planetary boundary layer schemes used in the ensemble. Additionally, several prescribed uncertainty models used to derive forecast probabilities based on knowledge of the error within a past training period are evaluated. A Gaussian uncertainty model provided calibrated wind speed forecasts at all wind farms tested. Attempts to scale the Gaussian distribution based on th

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Lewis, Gary, and Kathleen Gardiner. "The Ohio State University Wind Ensemble." Journal of the Acoustical Society of America 99, no. 4 (1996): 2483–500. http://dx.doi.org/10.1121/1.415582.

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Kim, Yeojin, and Jin Hur. "An Ensemble Forecasting Model of Wind Power Outputs Based on Improved Statistical Approaches." Energies 13, no. 5 (2020): 1071. http://dx.doi.org/10.3390/en13051071.

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The number of wind-generating resources has increased considerably, owing to concerns over the environmental impact of fossil-fuel combustion. Therefore, wind power forecasting is becoming an important issue for large-scale wind power grid integration. Ensemble forecasting, which combines several forecasting techniques, is considered a viable alternative to conventional single-model-based forecasting for improving the forecasting accuracy. In this work, we propose the day-ahead ensemble forecasting of wind power using statistical methods. The ensemble forecasting model consists of three single

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Beeks, Graydon, Frank J. Cipolla, and Donald Hunsberger. "The Wind Ensemble and Its Repertoire: Essays on the Fortieth Anniversary of the Eastman Wind Ensemble." Notes 53, no. 1 (1996): 84. http://dx.doi.org/10.2307/900313.

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Kreitner, Kenneth, Frank J. Cipolla, and Donald Hunsberger. "The Wind Ensemble and Its Repertoire: Essays on the Fortieth Anniversary of the Eastman Wind Ensemble." American Music 14, no. 2 (1996): 228. http://dx.doi.org/10.2307/3052358.

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