Bibliografías temáticas / BACH motive

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Literatura académica sobre el tema "BACH motive"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 11 de febrero de 2022

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Artículos de revistas sobre el tema "BACH motive"

Robin, A. Leaver. "Motive and Motif in the Church Music of Johann Sebastian Bach". Theology Today 63, n.º 1 (abril de 2006): 38–47. http://dx.doi.org/10.1177/004057360606300105.

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Johann Sebastian Bach stands in a long line of Lutheran composers who used musical forms to convey theological concepts that reaches back to Luther himself. Lutheran theologians and musicians used the Latin formula viva vox evangelii to define their understanding of music as the living voice of the gospel. Here is presented first an overview of this Lutheran tradition, and then an examination of specific examples from Bach's musical works that expound specific theological concepts such as the doctrine of the Trinity, the distinction between law and gospel, the nature of discipleship, and christological hermeneutics in general.

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Wiemer, Wolfgang. "Carl Philipp Emanuel Bachs Fantasie in c-Moll - ein Lamento auf den Tod des Vaters?" Bach-Jahrbuch 74 (9 de mayo de 2018): 163–77. http://dx.doi.org/10.13141/bjb.v19882582.

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1973 stellte Peter Schleuning die Frage, ob C. P. E. Bachs 1753 veröffentlichte Fantasie für Klavier in c-Moll Wq 63/6 nach dem Tod von Johann Sebastian Bach als "Tombeau" gedacht gewesen wäre. Eine gründliche Analyse des Werkes bestätigt diesen Verdacht; die unmissverständlichen B-a-c-h-Motive, ihre kompositorische Behandlung sowie der Gesamtaufbau der Fantasie deuten darauf hin, dass das Werk nach dem Vorbild einer nach den Regeln der Rhetorik gestalteten Trauerrede gestaltet ist. Wesentlich ist, dass Bachs Sohn seine Komposition auch mit der Tonsprache der berühmten Chromatischen Fantasie BWV 903 seines Vaters verbindet. (Übertragung des englischen Resümees am Ende des Bandes)

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Somfai, László. "With or without the B-A-C-H Motive? Bartók’s Hesitation in Writing his First String Quartet". Studia Musicologica 60, n.º 1-4 (21 de octubre de 2020): 15–22. http://dx.doi.org/10.1556/6.2019.00002.

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Considering the appearance of the musical cryptogram “B-A-C-H” (B-flat– A–C–B -natural) in well-known works up to the time of his First String Quartet (1908/1909), Béla Bartók knew Liszt’s Fantasy and Fugue on the Theme B-A-C-H, presumably also Schumann’s Sechs Fugen über den Namen Bach, and Reger’s Fantasia and Fugue on B-A-C-H for organ. Such compositions quoted the celebrated motive, typically as a starting point, with the relevant (aforementioned) pitches because the musical cryptogram in this way allowed immediate recognition of the reference to the name of the Leipzig composer. However, Bartók’s planned “B-A-C-H” quotation in the development section of the sonata-form second movement of his First Quartet was not a typical homage to Johann Sebastian Bach but rather a vision: a distorted reference to the symbolic “B-A-C-H” motive. Undoubtedly Bartók liked this episode. There is reason to believe that his friend Zoltán Kodály advised him to leave out the inorganic and distorted “B-A-C-H” allusion.

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HARLEY, MARIA ANNA. "Spatiality of sound and stream segregation in twentieth century instrumental music". Organised Sound 3, n.º 2 (agosto de 1998): 147–66. http://dx.doi.org/10.1017/s1355771898002088.

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Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is already quite dense, even though we have only considered its aspects relating to pitch, pitch class and pitch notation (representation by letters). What if the performer's gestures, the facial expressions, the direction of the bell of the instrument became important? Might one say, then, that the music has become theatre?

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Cahyani, A. D., A. Iskandarsyah, S. Cahyadi y W. Srisayekti. "Using Confirmatory Factor Analysis to Evaluate Construct Validity of the Indonesian Palatable Eating Motives Scale (I-PEMS)". Open Psychology Journal 13, n.º 1 (14 de febrero de 2020): 1–4. http://dx.doi.org/10.2174/1874350102013010001.

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The purpose of this work is to establish the validity of the Indonesian Palatable Eating Motives Scale (I-PEMS) and to describe the characteristics in palatable eating motives among current Indonesian young adults. The Original Palatable Eating Motives Scale (PEMS) was translated into Indonesian and back-translated into English to confirm the conceptual and linguistic equivalence. The scale was administered to emerging adults aged 18-25 years old. Confirmatory factor analysis demonstrated that the I-PEMS has an acceptable factor structure. The result provided evidence of four factors of palatable eating motives. No significant difference from the I-PEMS score between males and females. The association was only observed between the scores of Conformity motive and Body Mass Index.

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Maltseva, Anastasiya А. "SOME OBSERVATIONS OF THE CONTEMPORARY MUSICAL AND RHETORIC ANALYTICS". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n.º 40 (2020): 146–55. http://dx.doi.org/10.17223/22220836/40/12.

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When considering the research of the musical rhetoric in the Russian musicology the leading significance of the intonation-semantic aspect should be highlighted, as well as active elaboration of the musical language and its communicative possibilities, but at the same time we should pay attention to fixation of the unidirectional concept of really board and heterogeneous range of Baroque musical and rhetoric figures. The early 1980s – 1990s and 2000s was the period of intensive studies of the musical language elements as meaning-forming building blocks of a work of arts as a total. In the 21st century the vector of the musical and rhetoric analysis has shifted only slightly. During the past 10 years a ‘musical-rhetorical figure’ has been defined through such notions as ‘symbol’, ‘a sound phrase (motive)’, ‘formula’, ‘sign, emblem’, ‘stable, semantically intense element’, ‘image-meaning unit, compositional sound idiom’, ‘leitmotif of affect’, ‘intonation pattern’, ‘intonation-symbol’. Apart from concentrating on the symbolic aspect of musical figures, the research of the 21st cen-tury sometimes substitutes the Baroque conceptual construct of theoretical treatise of the 17th – the first half of the 18th centuries for the ‘contemporary’ ones, which started in the 20th century within the context of J.S. Bach studies (research of A. Schweizer, B.L. Javorsky, M.S. Druskin, J.S. Druskin and other). For some contemporary scholars it was not the theoretical texts of the Baroque period that served as sources of information on musical and rhetoric figures. Instead, A. Schweizer’s works were such a source. However, A. Schweizer knew nothing of the lists of musical and rhetoric figures in the treatise of J.S. Bach’s contemporaries and predecessors. In many cases searches for the newly invented ‘symbolism of the rhetoric figures’, ‘intonation formulas’ and ‘motive-symbols’ become the favorite hermeneutic method involving a scarce number of figures by the Baroque theorists (anabasis, cataba-sis, circulatio and other) filtered by the musical analytics according to the criteria of the intonation semantics and potential symbolism. We also observe insufficient awareness of the musical and theoretical aspect, use of the outdated notions (on the set of all concepts as on a system of musical figures Baroque) and information (on the number of the musical figures given by the theorists). The author draws the conclusion that the ‘broad fame’ of the musical and rhetoric figures is so well-known that it sometimes has little to do with the authentic phenomenon of the musica poetica Baroque. At the current stage of development of the Rus-sian musicology the author sees it necessary to consolidate the approaches to understanding of the musical heritage of this epoch from the point of view of the historical analytics.

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Lynnyk, M. S. "Rostislav Genika: performer, teacher, composer". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, n.º 54 (10 de diciembre de 2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.

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Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art, which can be considered the key basis of all his theoretical, historical and musical-critical generalizations and conclusions, as well as practical activities as a performer, teacher and composer. The education received by R. Genika in the class of N. Rubinstein at the Moscow Conservatory prompted the Kharkov musician to pay tribute to piano performance in the early stages of his career. The information about the pianist R. Genika, which came to us from publications in the press and the memoirs of his colleagues, gives an opportunity to reconstruct, although not in full, the style of his piano playing as a soloist, ensemble performer and accompanist. All this together constituted the subject of a comprehensive review and the relevance of this article. The research material includes reviews of R. Genika’s concerts and an example of his composer’s heritage in the field of piano music – a transcription “Concert Paraphrase” to the motive “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. The purpose of the paper is to reveal the universalism of the composer’s talent, the scale of his work, which was mainly focused on piano performance, through the analysis of various aspects of Rostislav Genika’s creative work. It would be wrong to call R. Genika a concert pianist in the traditional sense of the word. He had few solo concerts in his practice and they refer to the very beginning of his work career in Kharkov. As a concertist, he mostly performed works mastered in the class of N. Rubinstein, as well as piano parts in various ensembles, learnt by him when playing with “K. Gorsky Quartet” and other ensemble performers. The piano repertoire of R. Genika included pieces by I. S. Bach, G. Handel, D. Scarlatti, L. van Beethoven, K. M. Weber, F. Liszt, F. Chopin, R. Schumann, M. Mussorgsky, P. Tchaikovsky and others. Raised on the best examples of piano music, R. Genika appreciated such an interpretation that would meet not only the criteria of "accuracy", but would also be spiritually filled, sublimely emotional, and not outwardly ostentatious. Since the first days of working in Kharkov R. Genika, was able to combine lecturing, performing and correspondent activities with piano pedagogy. The sphere of pedagogy was one of the prevailing and time-consuming in his life. There is quite little information about R. Genika as a teacher and it can be found mainly in the reviews of his students’ concerts, in the notes of the local press as well as in the reports on academic concerts and exams at Kharkov Music College and Conservatory. The personal pianistic experience of R. Genika and the pedagogical style of his teacher N. Rubinshtein affected the choice of virtuoso programs and concert programs for his students. R. Genika’s composing experiments are closely related to his concert-pianistic and pedagogical work, as well as to the study of piano music history. The circle of his genre interests in this area was quite symptomatic. As an ardent supporter of concert pianism traditions R. Genika considered the genre of transcriptions and arangementds in the Liszt-Talberg spirit to be a new wave in piano literature of that time, a promising direction. This is how his transcriptions to the motives from “Parsifal” by R. Wagner, a piano arrangement of the “Arabic Dance” from the “Nutcracker” by P. Tchaikovsky, a fantasy “Abyss” to the motive of E. Grieg appeared. R. Genika also wrote short pieces intended for his concerts, as well as for educational practice. Unfortunately, the score of these works are still either not found or not preserved. An exception is the “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “Snow Maiden” by A. Ostrovsky (author’s handwritten text dedicated to the pianist V. Timanova). Being a pianist was very important for R. Genika. Understanding pianism as a musical aesthetic phenomenon resulted in a multifaceted and deep understanding of the essence of musical art, which was characteristic of R. Genika as a music educator. The musician thought of himself precisely as a “generalist” who could handle any music profession – a performer’s, teacher’s, or researcher’s one. Hence, further study of the creative and critical heritage of R. Genika will invariably affect the spheres of other areas of musical art (opera, chamber, etc.). Such universal personalities as R. Genika have always been an engine for the musical-historical process, idea generator of the era. Nowadays such universal musicians, who would be a kind of "litmus test" of their time and faithfully served the art, are still in need. One of such outstanding figures in Ukraine, a universal personality was Valerii Oleksandrovych Bohdanov (07/13/1939 㶹– 10/10/2017) – performer, teacher, scientific researcher, composer. His multifaceted activities encompassed a wide range of musical art and were reflected in many years of pedagogical work, a large number of research works, transcriptions, and composer’s experiments. We would like to hope that this anniversary collection dedicated to V. Bogdanov will serve as a prelude to a deep and comprehensive study of the life and work of this bright and extraordinary musician.

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Maul, Michael. "Johann Adolph Scheibes Bach-Kritik. Hintergründe und Schauplätze einer musikalischen Kontroverse". Bach-Jahrbuch 96 (13 de marzo de 2018): 153–98. http://dx.doi.org/10.13141/bjb.v20101884.

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Der Artikel bemängelt die einseitige Fokussierung auf Scheibes Bach-Kritik in dessen 1737 veröffentlichten Sendschreiben. Um dem Eindruck entgegenzuwirken, dieses richte sich schwerpunktmäßig gegen J. S. Bach, wird von einer neu aufgefundenen Quelle berichtet: In einem in Jena verwahrten Exemplar des Scheibe-Textes wurden die im Druck ausgelassenen Namen und Wirkungsstätten anderer kritisierter Komponisten vom Weimarer Stadtorganisten Johann Gottfried Walther handschriftlich eingefügt. Es sind dies Gottfried Heinrich Stölzel, Johann Theodor Roemhildt, Christoph Förster, Carl Gotthelf Gerlach, Johann Schneider, Johann Gottlieb Görner, Johann Sebastian Bach, Giuseppe Antonio Paganelli und Conrad Friedrich Hurlebusch. Nach Thesen zur Provenienz der Quelle gibt der Artikel eine kurze Zusammenfassung des Textes (vollständige Wiedergabe am Schluss des Beitrages) und fragt nach möglichen Motiven Scheibes für die Abfassung desselben. Dabei werden umfangreiche Passagen aus weiteren Texten Scheibes zitiert und als Grundlage der Ausführungen verwendet. Erwähnte Artikel: Günther Wagner: J. A. Scheibe - J. S. Bach: Versuch einer Bewertung. BJ 1982, S. 83-50 Hans-Joachim Schulze: Studenten als Bachs Helfer bei der Leipziger Kirchenmusik. BJ 1984, S. 45-52

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Gabric-Molnar, Iren y Agnes Slavic. "The impact of emigration from Serbia to Hungary on the human resources of Vojvodina". Zbornik Matice srpske za drustvene nauke, n.º 148 (2014): 571–81. http://dx.doi.org/10.2298/zmsdn1448571g.

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In the recent decades the migration processes and circular migration are increasing worldwide and have become more and more complex. There has been a new type of international migration - back and forth international migration. Nowadays, job seeking in the international space, brain circulation, multiple citizenship and identity, property ownership and consumption at the place of origin and at destination residence result in completely new lifestyles in Central and Eastern Europe, too. After the disintegration of the socialist regime both in Serbia and Hungary, new types of emigrants from Serbia appeared in Hungary, namely students, highly qualified workers, entrepreneurs, elders and circulars. The most recent types of migrants along the Serbian-Hungarian border area are: economic emigrants (emigrant physical workers); creative class (entrepreneurs, businessmen, international traders); circulars and seasonal emigrants, as well as students. The hypothesis of this work is that the main motive of emigration from Serbia to Hungary is the economic motive, especially job-seeking. The analysis of emigration from Serbia to Hungary is based on the interviews and questionnaire-based research obtained among emigrants from Vojvodina to Hungary, who were living in Hungary or commuting there regularly between 2010 and 2013. The obtained data prove the hypothesis. The economic motives are present even when the emigrants do not stay in Hungary, but move off to more developed countries of the EU.

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Tamara, Ajeng Pancar y Muhammad Rifqi. "AMIR’S ANXIETY AND MOTIVE IN KHALED HOSSEINI’S THE KITE RUNNER". LITE: Jurnal Bahasa, Sastra, dan Budaya 16, n.º 2 (26 de febrero de 2021): 212–33. http://dx.doi.org/10.33633/lite.v16i2.4157.

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This paper discusses Amir’s anxiety and motive in Khaled Hosseini’s “The Kite Runner". The library research method was applied in this research. In analyzing the data, the structural approach was used to scrutinize the intrinsic elements such as character, conflict, setting, and plot, while the psychological approach was used to examine extrinsic elements such as anxiety and motive of Amir as the main character in “The Kite Runner”. The results show that Amir, as the main character, is a caring, inferior, coward, optimistic, anxious, selfish, careless, sly, and patient person. It also indicates that Amir is a round static character since he has complex traits but his character as a caring person remains the same from the beginning to the end of the story. Besides, as the main character, Amir experienced both internal and external conflicts. The settings of time, social, and place showed the period in Afghanistan between 1975 and 2001 and the social stratum, Pashtun and Hazara in Kabul. Dealing with the plot, it starts from Amir’s effort to get Baba’s recognition and respect, Amir’s anxiety after betraying Hassan, Amir efforts to take Sohrab out from Kabul, the liberation of Sohrab from Assef, the Sohrab suicide trial, up to Amir’s effort to get back Sohrab trust. Also, Amir’s anxiety deals with realistic, neurotic, and moral anxiety, while the motives are safety and security need, belongingness and love need, and self-esteem needs.

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Más fuentes

Tesis sobre el tema "BACH motive"

Alípio, Alisson Cardoso Monteiro. "O processo de digitação para violão da Ciaccona BWV 1004 de Johann Sebastin Bach". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28065.

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Este trabalho trata do processo de digitação para violão da Ciaccona BWV 1004 (original para violino) de Johann Sebastian Bach (1685-1750). O objetivo foi desenvolver uma digitação de mão esquerda capaz de refletir as intenções musicais do presente autor. Para tal, foi estabelecido um modelo de análise, onde a textura musical é dividida e classificada, com base em referenciais teóricos, como: melódica, harmônica, motívica e polifônica. Ao analisar as digitações usadas em transcrições, e compará-las às desta pesquisa, concluímos que se pode ter autonomia para contestar uma digitação grafada, pois ela reflete nada mais que as decisões do seu autor, sejam musicais ou técnicas. A partir disto, podemos deduzir que elas se alteram conforme as nossas próprias decisões.
This work deals with the process of elaborating guitar fingerings for J. S. Bach’s Ciaccona BWV 1004 (original for violin). The aim was to develop a left hand fingering able to reflect the musical intentions of the present author. To this end, a model of analysis was established, in which the musical texture is divided and classified, based on theoretical references, into the following categories: melodic, harmonic, motivic and polyphonic. By analyzing the fingering used on transcriptions, and comparing it with the results of this research, we conclude that we can question a suggested fingering, because it reflects nothing more than the decisions of its author, whether musical or technical. From this we can deduce that they change according to our own decisions.

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Ravensbergen, Jacqueline. "The Twentieth-century Canon: An Analysis of Luigi Dallapiccola's Canonic Works from his 'Quaderno musicale di Annalibera'". Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23146.

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The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability.

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Coxner, Gabriel. "Analys och tolkning : Bach A moll grave". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3490.

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Denna uppsats söker svar på frågan: Hur kan arbete med analys av ett stycke påverka den musikaliska tolkningen av musiken? Detta har jag valt att undersöka på första satsen ur solo sonat no 2 i a moll BWV 1003 av J.S Bach. Jag använder mig av traditionella analysmetoder och undersöker främst form, motiv, baslinje och harmonik. I uppsatsen redovisar jag för praktiska tillämpningar av analyserna. Resultatet diskuteras sedan och en diskussion av ämnet förs.

Den klingande delen av arbetet utgörs av följande inspelning: (Ljudfil Gabriel Coxner). Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningen är arkiverad och kan komma att kompletteras

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Shea, Joan-Emma. "Brownian motion in a non-equilibrium bath". Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/42646.

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Breloff, Scott. "Quantifying Segmental Spinal Motion during Activities of Daily Living". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13233.

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Back pain is a very common musculoskeletal impairment in most Americans. Average annual occurrence of back pain is reported around 30% of the population and is the most common cause of activity limitation in people younger than 45 years old. Eighty percent of the back pain presents in the lumbar spine. Although this ailment is very prevalent in the American population, there is a lack of empirical evidence supporting the common clinical diagnosis and intervention back pain strategies. The frequency of back pain and the lack of treatment methods were the motivation for this investigation. It is important to better understand spine dynamics during ambulatory tasks of daily activities to identify possible biomechanical mechanisms underlying back pain. Current biomechanical quantification methods for spine dynamics are either too invasive or not detailed enough to fully comprehend detailed spinal movement. Therefore, a non-invasive but detailed procedure to calculate spine dynamics was developed and tested. In this study, multi-segmented spine dynamics (kinematics and kinetics) were calculated during four activities of daily living (level walking (W), obstacle crossing (OC), stair ascent (SA) and stair descent (SD)). Our findings suggested an in-vivo multi-segmented spine surface marker set is able to detect different and repeatable motion patterns during walking among various spinal segments. The sacrum to lower lumbar (SLL) joint had the largest range of motion (ROM) when compared to the other more superior joints (lower lumbar to upper lumbar and upper lumbar to lower thoracic). Furthermore, SA task demonstrated more flexion ROM than both W and SD tasks. In addition to task influence, joints at different spine levels also demonstrated different ROMs, where SLL had a greater ROM than upper lumbar to lower thoracic (ULLT) in the transverse plane. Age was found to not significantly affect the segmental spinal ROM or peak angles. The vertical segmental joint reaction forces were different between tasks, where SD yielded larger vertical reaction forces than W. Overall, findings from this dissertation work were able to show that a multi-segment spine marker system could be an effective tool in determining different spinal dynamics during various activities of daily living. This dissertation includes unpublished co-authored material.

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Guo, Xinxin. "Back-propagation beamformer design with transverse oscillations for motion estimation in echocardiography". Thesis, Lyon, INSA, 2014. http://www.theses.fr/2014ISAL0085/document.

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L'échographie est aujourd'hui l'une des modalités les plus populaires de diagnostic médical. Il permet d'observer, en temps réel, le mouvement des organes qui facilite le diagnostic des pathologies pour des médecins. L'échocardiographie [1, 2], l'imagerie du flux sanguin [3, 4] et l’élastographie [5-7] sont les domaines préférés de l'estimation de mouvement en utilisant l'échographie (en raison de son haut frame-rate).En conséquence, les images avec meilleurs qualités sont nécessaires. . En imagerie cardiaque, le système classique d'imagerie est limité dans la direction transversale (la direction perpendiculaire à celle de propagation). Travaillant sur la formation des images, ce problème peut être résolu en modifiant la façon de formateur de voie afin d'introduire des oscillations transversales (OTs) dans la fonction d’étalement du point (PSF). La technique d’oscillation transversale a montré son potentiel d'améliorer la précision de l'estimation de mouvement local dans la direction transversale (la direction perpendiculaire à celle de propagation). La classique OT en géométrie linéaire, basée sur l'approximation de Fraunhofer, relie la PSF et la fonction de pondération par la transformée de Fourier. Motivé par l'adaptation des OTs en échocardiographie, nous proposons une technique spécifique basée sur la rétro-propagation afin de construire des OTs en géométrie sectorielle. La performance de la méthode de rétro-propagation proposée a été étudiée progressivement, comparée avec la méthode de la transformée de Fourier, par exemple, l'évaluation de la qualité de la PSF quantifié, dans l'estimation de mouvement cardiaque en simulation, et en étude la qualité des PSF visuellement expérimentale. Les résultats quantifiés montrent les OT-images sont mieux contrôlés par la méthode proposée que par le formateur de voie conventionnelle. Une autre méthode, basée sur la décomposition d'onde plane et un principe différent de rétro-propagation, a été présentée. Cette méthode mieux prend en compte la propriété 2D de PSF, en décomposant la PSF dans un ensemble d'ondes planes directionnelle, les rétro-propage à la sonde, en utilisant les résultats de superposition comme excitations, un PSF simulée et conforme fortement au PSF théorique est acquis. En adaptant cette méthode à la géométrie sectorielle, la qualité de la PSF obtenue en face et sur la côté de la sonde est meilleure en utilisant la décomposition en ondes planes à celle de la transformée de Fourier, le travail supplémentaire sera adressé à adapter la décomposition en ondes planes à imagerie sectorielle et l’estimation du mouvement
Echography is nowadays one of the most popular medical diagnosis modalities. It enables real-time observation the motion of moving organs which facilitates the diagnosis of pathologies for physician. Echocardiography [1, 2], blood flow imaging [3, 4] and elastography [5-7] are the favorite domains of motion estimation in using of echography (e.g., due to its high frame-rate capacity). Thus the requirements for imaging with high quality are on the primary place. In cardiac imaging, the conventional imaging system is somehow limited in the transverse direction (the direction perpendicular to the beam axis). Working on the image formation, this problem can be addressed by modifying the beamforming scheme in order to introduce transverse oscillations (TOs) in the system point spread function (PSF). Transverse oscillation techniques have shown their potential for improving the accuracy of local motion estimation in the transverse direction (i.e., the direction perpendicular to the beam axis). The conventional design of TOs in linear geometry, which is based on the Fraunhofer approximation, relates PSF and apodization function through a Fourier transform. Motivated by the adaptation of TOs in echocardiography, we propose a specific beamforming approach based on back-propagation in order to build TOs in sectorial geometry. The performance of the proposed back-propagation method has been studied gradually, in comparison with the Fourier transform, such as in evaluation of the quality of PSF, in estimation of simulated cardiac motion and in experiments study, etc. The quantified results demonstrate the proposed method leads to better controlled TOs images than the conventional beamforming. Another method based on plane wave decomposition and a different back-propagation principle has been presented. This method is better taking into account the 2D property of PSF, by decomposing the PSF into a set of plane waves directionally, back-propagating them to the probe, by using the superposition results as excitations, a simulated PSF with high accordance to the theoretical one is acquired. By adapting this method to sectorial geometry, the quality of PSF obtained in front of probe is better using the plane wave decomposition method than that of Fourier relation, but it is limited for the scanning on the side of probe, so the further work will be addressed to adapting the plane wave decomposition method to the complete sectorial imaging

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Inagi, Shinji y Shinji Inagi. "The Use of "Computer-Assisted Contrapuntal, Intervallic, and Motion Analysis" as a Tool to Help Determine the Authorship of Organ Works in the Neumeister Collection". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621077.

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The noted Bach scholar Christoph Wolff and two other researchers made one of the more noteworthy musicological finds of the late twentieth century in 1984, when they first rediscovered and then published MS LM 4708 of the John Herrick Music Library of Yale University. This MS, which was published under the title The Neumeister Collection, contains 82 organ chorales, many previously unknown, by members of the Bach circle. Of those 82 chorales, five pieces appear without attribution and six works have been published that were previously attributed to other composers. Wolff's edition, which lists composers for all 82 chorales, relies largely upon stylistic analysis when assigning attributions for pieces with multiple attributions. This document introduces a new analytic tool that can be used to generate information relevant to questions of authorship in the Neumeister chorales; this important tool is a computer program called MATLAB. MATLAB can compile and tabulate information about the melodic, intervallic, and contrapuntal content of musical compositions by analyzing XML computer files produced by standard music software programs such as Finale or Sibelius. This data then can be used to generate graphs that can be compared between compositions. Such analysis sheds new light upon the musical choices of composers represented in The Neumeister Collection and makes possible more informed judgments about pieces with multiple attributions.

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Williams, Jonathan Mark. "An initial investigation into the effect of pain relief on lumbar kinematics and electromyography in low back pain sufferers". Thesis, University of Roehampton, 2012. https://pure.roehampton.ac.uk/portal/en/studentthesis/an-initial-investigation-into-the-effect-of-pain-relief-on-lumbar-kinematics-and-electromyography-in-low-back-pain-sufferers(697f8766-eecd-4aae-abcb-192586dd28a2).html.

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Motion and motor patterns of low back pain (LBP) sufferers have been demonstrated as different compared to those without LBP. The mechanism behind such movement alterations is not well known but is believed to be related to pain. Current biomechanical measurement of lumbar curvature and kinematics has limitations for routine clinical use. The aims of this research were to (1) investigate new motion analysis technology for dynamic lumbar curvature (fibre-optic sensors) and higher order kinematic assessment (inertial sensors) within a clinical environment; (2) determine the effect of pain relief on lumbar curvature, kinematics and muscle function in acute low back pain (ALBP) and chronic low back pain (CLBP) sufferers. Dynamic lumbar curvature was found to be reliably measureable in the clinic. Additional analysis demonstrated that regional curvature, as well as sequencing of curvature change measurement was possible. ALBP sufferers display less peak curvature during flexion and lifting compared to CLBP sufferers and both groups demonstrated the greatest curvature change in the second quartile for flexion and lifting and first for extension. Partial pain relief did not increase curvature in either group, and neither group was more likely to respond to pain relief by increasing curvature or altering sequencing. Higher order kinematics could be reliably and readily indentified in the clinic using inertial sensors. Movement-velocity plots were employed to describe the movement trajectory and irregularity. Multivariate analysis of variance revealed that neither partial pain relief (pre vs post) nor chronicity (acute vs chronic) had any effect on lumbar kinematics. Individuals appeared to exhibit different electromyography profiles. Those individuals with little deviation in muscle activation commonly displayed lower kinematic values. Partial pain relief did not alter the pattern of EMG profile, muscle onset timing or peak amplitude. These results suggest that clinicians should not expect automatic alterations in motion and motor patterns following interventions which target and achieve partial pain relief.

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Weindler, Tobias [Verfasser] y Christian [Akademischer Betreuer] Back. "Field Driven Vortex Domain Wall Motion in Magnetic Nanostructures / Tobias Weindler ; Betreuer: Christian Back". Regensburg : Universitätsbibliothek Regensburg, 2020. http://d-nb.info/1203875347/34.

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Sekaninová, Petra. "Psychologické aspekty tvorby pracovního prostředí v ING Bank, oddělení Back Office". Master's thesis, Vysoká škola ekonomická v Praze, 2007. http://www.nusl.cz/ntk/nusl-4986.

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The Graduation Theses is aimed at the working environemt. The main goil is to analyse sections of working environment in detail and establish how the work capacity is influence. In the theoretic part there are established fundamental term and these terms are used to analyse and find out some deficiences. Proposal arangements to avoid absences are in conclusion.

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Libros sobre el tema "BACH motive"

BACH: Verarbeitungen eines Motivs in der Orgelmusik des 19. Jahrhunderts. Sinzig: Studio, 2004.

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1933-, Davis Peter, ed. Come back, Africa. Johannesburg, South Africa: STE Publishers, 2004.

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Lazarou, George A. Memories of Hollywood, 1932: Fanie Hurst's Back street : a tribute. Athens, Greece: G.A. Lazarou, 2004.

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Carlos, Gallardo. Carlos Gallardo: Back up : marzo-abril 2004. Buenos Aires: Museo Nacional de Bellas Artes, 2004.

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Monicelli, Ottavia. Guai ai baci. [Milan, Italy]: Sperling & Kupfer, 2013.

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Danforth, Prince, ed. Hollywood Babylon: It's back! [New York]: Blood Moon Productions, 2008.

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Back, Silvio. Lance maior: Filme de Sylvio Back. Rio de Janeiro, RJ: Imago, 2008.

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Fhlainn, Sorcha Ní. The worlds of Back to the future: Critical essays on the films. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2010.

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Fontes, Ron. 3 Ninjas Kick Back. [S.l.]: Troll Associates, 1994.

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Bulluck, Vic. The art of The empire strikes back. London: Titan Books, 1995.

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Capítulos de libros sobre el tema "BACH motive"

Segal, Lynne. "Look Back in Anger: Men in the Fifties". En Slow Motion, 1–20. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230582521_1.

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Pilger, Rex H. "Back-Arc Spreading and Proper Motion". En Geokinematics, 193–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-662-07439-8_10.

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Bai, Kun y Kok-Meng Lee. "A Back-EMF Method for Multi-DOF Motion Detection". En Permanent Magnet Spherical Motors, 109–22. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7962-7_6.

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Bovier, Anton. "From Spin Glasses to Branching Brownian Motion—and Back?" En Lecture Notes in Mathematics, 1–64. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-19339-7_1.

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Dong, Ran, Hongqi Wang y Weiwei Xue. "Design of Brushless DC Motor Control System Based on Back Electric Motive Force (EMF)". En Electrical, Information Engineering and Mechatronics 2011, 863–72. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-2467-2_102.

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Immoreev, I. "Radar Observation of Objects, Which Fulfill Back-and-Forth Motion". En Ultra-Wideband, Short Pulse Electromagnetics 9, 395–404. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-0-387-77845-7_46.

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vom Hofe, Moritz, Paul Baginski y Hartmut Holzmüller. "Money Isn’t Everything?! Investigating Public Policies to Engage Energy Efficiency in Private Homes, An Empirical Analysis on Consumer Motives: An Abstract". En Back to the Future: Using Marketing Basics to Provide Customer Value, 199–200. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66023-3_71.

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Ligozat, Gérard. "From Language to Motion, and Back: Generating and Using Route Descriptions". En Lecture Notes in Computer Science, 328–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/3-540-45154-4_31.

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Mehrentsev, Andrey V. y Artem V. Kruglov. "The Algorithm and Software for Timber Batch Measurement by Using Image Analysis". En Representations, Analysis and Recognition of Shape and Motion from Imaging Data, 56–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19816-9_5.

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Terada, Hidetsugu, Koji Makino, Kazuyoshi Ishida y Teppei Ogura. "Development of a Knee Joint Assistive-Mechanism Adapted for Bilateral Roll-Back Motion". En EuCoMeS 2018, 19–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98020-1_3.

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Actas de conferencias sobre el tema "BACH motive"

Metzger, Mark R. y Paul L. Schechter. "Examining motion of the LSR using anticenter carbon stars". En Back to the Galaxy. AIP, 1992. http://dx.doi.org/10.1063/1.43969.

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"Back cover". En 2013 9th Workshop on Robot Motion and Control (RoMoCo). IEEE, 2013. http://dx.doi.org/10.1109/romoco.2013.6614624.

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"Back cover". En 2010 11th IEEE International Workshop on Advanced Motion Control (AMC). IEEE, 2010. http://dx.doi.org/10.1109/amc.2010.5464128.

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"Back cover". En 2015 10th International Workshop on Robot Motion and Control (RoMoCo). IEEE, 2015. http://dx.doi.org/10.1109/romoco.2015.7219754.

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"[Back cover]". En 2017 11th International Workshop on Robot Motion and Control (RoMoCo). IEEE, 2017. http://dx.doi.org/10.1109/romoco.2017.8003925.

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"[Back cover]". En 2019 12th International Workshop on Robot Motion and Control (RoMoCo). IEEE, 2019. http://dx.doi.org/10.1109/romoco.2019.8787381.

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Nurmi, Jarmo y Jouni Mattila. "Automated Feed-Forward Learning for Pressure-Compensated Mobile Hydraulic Valves With Significant Dead-Zone". En ASME/BATH 2017 Symposium on Fluid Power and Motion Control. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/fpmc2017-4258.

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Hydraulic manipulators on mobile machines, whose hydraulic actuators are usually controlled by mobile hydraulic valves, are being considered for robotic closed-loop control. A feed-forward-based strategy combining position and velocity feedback has been found to be an effective method for the motion control of pressure-compensated mobile hydraulic valves that have a significant dead zone. The feed-forward can be manually identified. However, manually identifying the feed-forward models for each valve-actuator pair is often very time-consuming and error-prone. For this practical reason, we propose an automated feed-forward learning method based on velocity and position feedback. We present experimental results for a heavy-duty hydraulic manipulator on a forest forwarder to demonstrate the effectiveness of the proposed method. These results motivate the automated identification of velocity feed-forward models for motion control of heavy-duty hydraulic manipulators controlled by pressure-compensated mobile hydraulic valves that have a significant input dead zone.

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"Back cover". En 2010 14th International Power Electronics and Motion Control Conference (EPE/PEMC 2010). IEEE, 2010. http://dx.doi.org/10.1109/epepemc.2010.5606703.

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Kawai, Yusuke, Yuki Yokokura, Kiyoshi Ohishi y Toshimasa Miyazaki. "Forward-back and back-forward drivable controls for human-robot interaction". En 2018 15th International Workshop on Advanced Motion Control (AMC). IEEE, 2018. http://dx.doi.org/10.1109/amc.2019.8371174.

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"Back Cover". En 2010 International Symposium on Power Electronics, Electrical Drives, Automation and Motion (SPEEDAM 2010). IEEE, 2010. http://dx.doi.org/10.1109/speedam.2010.5544893.

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Informes sobre el tema "BACH motive"

Karlstrom, Karl, Laura Crossey, Allyson Matthis y Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, abril de 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...

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