Gotowa bibliografia na temat „Illustrated songs”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Illustrated songs”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Illustrated songs"
1
Napoletano, Margo A. "Teaching Adolescent Psychology Using Popular Song Lyrics." Psychological Reports 62, no. 3 (1988): 975–78. http://dx.doi.org/10.2466/pr0.1988.62.3.975.
Pełny tekst źródłaStreszczenie:
11 popular songs were evaluated by 14 students enrolled in a section of adolescent psychology. Songs were selected for their potential to illustrate psychological concepts, such as, identity crisis, psychotic behavior, and personal fable. After lecture on a particular topic, a song relevant to that topic was played and discussed. Lyrics that illustrated certain concepts were identified. Students evaluated each song for its effectiveness in aiding their understanding of concepts. End-of-semester evaluations indicated increased scores on measures of critical thinking and comprehension of subject matter, which would suggest continued use of songs is appropriate.
2
ZEFA, EDISON, LUCIANO DE PINHO MARTINS, CHRISTIAN PETER DEMARI, et al. "Singing crickets from Brazil (Orthoptera: Gryllidea), an illustrated checklist with access to the sounds produced." Zootaxa 5209, no. 2 (2022): 211–37. http://dx.doi.org/10.11646/zootaxa.5209.2.4.
Pełny tekst źródłaStreszczenie:
The knowledge of bioacoustics of the Neotropical crickets (Orthoptera, Gryllidea) is incipient, despite the great species diversity in the region. There are few cricket song-files deposited in the major World Sound Libraries, compared to other groups such as birds and amphibians. In order to contribute to the knowledge of the bioacoustics of Brazilian crickets, we organize, analyze and make available at Fonoteca Neotropical Jacques Vielliard (FNJV) and Orthoptera Species File (OSF) our bank of cricket songs. We deposited 876 cricket’s song files in the FNJV, belonging to 31 species and 47 sonotypes. The songs were field/lab recorded, and all individuals were collected to improve species/sonotypes taxonomic determination accuracy. We present photos (in vivo) of most recorded crickets, as well as calling song spectrograms to facilitate the species/sonotype recognition. Samples of the songs can be found online on the FNJV website, using the codes available in this work, as well as on the OSF, linked to the species name. As a result, we advance the knowledge of the songs of crickets and the current perspective of the Brazilian cricket bioacoustics. We encourage researchers to share with the public their collections of their cricket file songs both in the FNJV and the OSF.
3
Hudson, Stephen S. "Song form and storytelling in mainstream metal." Metal Music Studies 9, no. 1 (2023): 7–26. http://dx.doi.org/10.1386/mms_00092_1.
Pełny tekst źródłaStreszczenie:
This article builds on a new theory of metal song form () to show how different versions of compound AABA form can carry narrative meaning, illustrated by analyses of a number of famous metal songs in mainstream (i.e. not underground/extreme) styles. First, I discuss how some songs about rituals use conventional compound AABA form such that the ‘transformation’ event of the ritual occurs during the song’s B section, focusing on examples by Mercyful Fate and Ghost. Next, I show how several metal ballads use a shortened version of the conventional form (AAB) to depict a protagonist who loses control, getting ‘stuck’ at the same time as the form gets ‘stuck’ in the B section, focusing on examples by Metallica and Pantera. I end with a short analysis showing how aspects of these two established strategies are combined in a unique pairing of form and narrative in Iron Maiden’s ‘Run to the Hills’. As I analyse these songs, I explore how musical form can structure fans’ participation in the music and shape their experiences of these songs’ stories.
4
PERRY, ESTHER JOHN, and COLLIN JEROME. "‘A CURSE OR A BLESSING?’: THE FATE OF IBAN WOMEN IN ‘ADAT NGUAI’ AS ILLUSTRATED BY LITERARY DEVICES IN IBAN SONG LYRICS." Iasaýı ýnıversıtetіnіń habarshysy 122, no. 4 (2021): 20–26. http://dx.doi.org/10.47526/2021-4/2664-0686.02.
Pełny tekst źródłaStreszczenie:
Numerous studies have examined the depictions of men and women inIban songs. Such depictions revolve around the traditional roles of Iban men and women in both public and private domains. More studies, however, are needed to examine the nuances of these depictions, given the fact that many Iban popular songs portray gender in traditional Iban society. This paper aims to examine such nuances by exploring the fate of women in female Iban songs particularly on their rights and treatment by others as illustrated in the song lyrics. This study adopts the qualitative research design by using content analysis to analyze the description of Iban married women who decided to move out and live at their spouse home in two songs namely, ‘Tusah Belaki Nguai’ by Swaylin and ‘Tusah Nyadi Menantu’ by Linda Simai. The results show that the Iban women are 1) depicted as ‘nguai’ to her husband, who are submissive to the in laws and the husband, and 2) expected to display the quality of ‘indu tampun puji’ or ‘menantu ke dipilih’, that refers to the ideal concept of an Iban woman who is both hardworking and capable to manage the household.
5
Lipenga, Timwa. "La Traduction et l’alternance de code linguistique dans la musique de Yemi Alade." International Journal of Francophone Studies 24, no. 3 (2021): 221–40. http://dx.doi.org/10.1386/ijfs_00039_1.
Pełny tekst źródłaStreszczenie:
This article focuses on the links between translation and code-switching in selected songs by Yemi Alade. The songs under study were originally composed and interpreted in English before being translated into French. The original lyrics do not translate the instances where Yoruba and Igbo code-switching occurs, whereas the French versions frequently translate such instances. The article argues that these translations of code-switching serve to re-examine preconceived notions about a song and its translation. The argument demonstrates that it is possible for a song to ‘gain’ in translation, and this is illustrated by Alade’s translated songs. The article also focuses on the extent to which the Derridean perspective of the supplement and that of différance can be applied to music translation. The four songs ‘Johnny’, ‘K-I-S-S-I-N-G’, ‘Africa’ and ‘Ferrari’ have been chosen because they feature instances of code-switching. The article looks at the degree to which one can talk about loss during translation and the supplementary meanings of language in the four songs. finally, it reflects on the implications of linguistic choices for a musician in postcolonial Africa; ordinarily, African writers are the ones who are interrogated regarding language choice, but the question of language is one which confronts every form of art on the continent.
6
Minnullin, Kim Mugallimovich, and Liliya Minnullovna Giniyatullina. "The role of lexical repetition in the texts of Tatar songs." Philology. Issues of Theory and Practice 16, no. 10 (2023): 3597–601. http://dx.doi.org/10.30853/phil20230557.
Pełny tekst źródłaStreszczenie:
The aim of the study is to determine the role of lexical repetition in the formation of syntactic links between sentences in the texts of Tatar songs. The paper analyses the function of this linking means in the formation of a chain link. The scientific novelty of the study lies in carrying out a comprehensive analysis of the use of lexical repetitions in poetic texts and identifying the structural features of Tatar songs. It is the first time that the types of syntactic links that are established through lexical repetition between sentences in the texts of Tatar songs have been identified and illustrated with examples. As a result, the syntactic relations between the parts of sentences that are formed through lexical repetition have been determined; the following syntactic links between sentences that are most characteristic of song lyrics have been revealed: “subject – object”, “object – subject”, “subject – subject”, “object – object”, “attribute – subject”.
7
Žičkienė, Aušra. "Let Us Raise and Clang Our Glasses! Tracing the History of the Student Songs." Tautosakos darbai 50 (December 28, 2015): 153–82. http://dx.doi.org/10.51554/td.2015.28995.
Pełny tekst źródłaStreszczenie:
The article aims at revealing the vitality of the oral cultural pattern as illustrated by the songs spread by perhaps the most literate community – students. The analysis of Lithuanian student songs focuses on two compositions that have been favored by students for quite a long time, travelling between European universities orally (at least in part) and sometimes even radically changing their shape.One of these songs is entitled Krambambuli (that is also the name of a strong liquor). It appeared in Lithuania in relation to the establishment of the student corporations following the German example. Yet among the Lithuanian students during the interwar period not the translated German song grew popular, but its local Lithuanian version. The Lithuanian Krambambuli inherited certain traits not only from its German predecessor, but also from the folkloric variants of the Russian translation, including some peculiarities of both the lyrics and melody, and certain additional features. By way of oral learning, dissemination, and variation this song was popular until the beginning of the 1960s. After Lithuania regained its independence and corporations renewed their activities at the universities, the song Krambambuli started sounding again, but today it cannot be regarded as a popular song. Members of the corporations learn it purposefully, as traditional heritage, which should be preserved and respected. Today Krambambuli seems to have turned into a presentable, “show” composition; it is difficult to say if it is ever going to find its way back into folklore proper again, enriching the treasury of the spontaneously developing folk creativity.Another song, the history of which we also use here as an illustration, is given a provisory title “Let Us Raise and Clang Our Glasses!” according to the prevailing lines of its refrain. Its melody, adapted from an Italian student song of the beginning of the 20th century, travelled to Lithuania via Russia, followed by the lyrics, which in Lithuania, however, was transformed into a patchy medley of unrelated humorous couplets. In Lithuania, this song exists and is learned almost exclusively orally, while its fragments “behave” in the virtual space not unlike the paremias: they are used to season the speech, to illustrate, to accentuate the peculiarity of the situation, or even as punchlines in certain funny situations.The first thing that draws attention when we attempt generalizing the history of the both long-lived student songs in question is the fact that they are male songs; incidentally, this tendency can be observed in the corpus of the student songs even today, although the student community has long ago ceased to be a masculine one. Masculinity, frivolity, beer, youth, love, gaiety – these are the main themes that have perhaps determined the long-lived popularity of the songs in question. However, the analyzed songs are interrelated not only in terms of their themes; they keep balancing on the borderline between cultural layers. Having emerged from the professional compositions, they are likely to be performed onstage, nicely arranged and perfectly intoned by professionally trained choirs. Yet another time the same song can completely adhere to the requirements of the popular scene, readily adapting to the popular taste by flexibly altering its shape and finally sounding in accordance to the requirements of almost the lowest social strata. Nevertheless, the most intriguing is the possibility of discerning the basic principles of folklore in the history of these songs; these principles are essentially similar to those developed by the oral culture in the ancient communities. Songs keep surviving for lengthy periods; they are repeated and in demand, since their texts seem lucid to the majority of the community members. They reflect the prevailing vision of the surrounding world, although their melodies change while crossing different countries and regions: they are adapted or even recreated, because they keep hitting the local filters that censor the song’s expression; these comprise certain pools of the musical forms, intonations and complex figures. The power of these filters may perhaps account for dissemination of certain forms of the musical expression in some areas and their total absence or strong changes in the others. If we add criteria of variation, collectivity, loss of authorship or its assumed irrelevance, and emphasize the importance that these songs acquire in relation to customs and rituals, we can perhaps complete the list of the main principles of folklore that are observed in these hybrid compositions – student songs.The traces of folklore found in the student songs do not mean, however, that these compositions can be considered folklore. Still, the student songs are shaped, sound and leave the living tradition precisely following the laws of the oral cultural pattern, thus “behave” in correspondence to its norms. So, even if today we are surrounded not only by the written, but also by the media culture, the modern community, if it is indeed a living and a self-renewing one, cannot completely discard the patterns of oral culture as well. The songs are an inherent part of such pattern, accompanying various rituals and customs or simply helping to create a happier kind of the daily life and making it meaningful.
8
TISHECHKIN, DMITRI YU. "Clarification of taxonomic status of Pseudochorthippus geminus (Mistshenko, 1951) (Orthoptera: Acrididae: Gomphocerinae) based on male calling song analysis." Zootaxa 5447, no. 1 (2024): 133–39. http://dx.doi.org/10.11646/zootaxa.5447.1.9.
Pełny tekst źródłaStreszczenie:
Pseudochorthippus geminus is redescribed and illustrated based on specimens from southern Kazakhstan and northern Kyrgyzstan. Oscillograms of the male calling songs of P. geminus from these localities and of P. parallelus from southern Kazakhstan are given. Comparative analysis of the song temporal patterns of P. geminus and P. parallelus clearly indicates that they represent separate biological species, but the morphological differences between them are indistinct and do not always provide reliable characters for species diagnostics.
9
Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.
Pełny tekst źródłaStreszczenie:
The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.
10
Khoshsaligheh, Masood, Fatemeh Sarvghadi, and Binazir Mohammad Alizadeh. "Impact of Song Dubbing on Characterization." Journal of Audiovisual Translation 5, no. 1 (2022): 186–206. http://dx.doi.org/10.47476/jat.v5i1.2022.189.
Pełny tekst źródłaStreszczenie:
Interventions in the extent and quality of the portrayal of characters in dubbed musical films can induce a change in the original characterization in the film as characters play the role of singers who reflect their inner emotions and thoughts through diegetic songs. To examine the impact of dubbed diegetic songs on the singer’s characterization, the study contains two main phases, theoretical and empirical. Initially, the development of the notions on characterization in dubbed films is illustrated to justify and present a merged model drawing on Bosseaux (2015) and Reus (2020) from the realm of Translation Studies, and the cinematic standpoints inspired by Dyer (1998). Then, to apply the model, the different dimensions of the merged model, including the visual dimension (synchrony and visual deixis) and the verbal dimension (sense, style, and voice quality) are investigated in a case of private sector, professional Persian dubbing (Khoshsaligheh, 2022). The case study was the Persian dubbed version of the diegetic songs of Frozen (Buck & Lee, 2013). The analysis reveals that the shifts in two dimensions lead to a fairly dissimilar presentation of the singers’ characterization. Lay Summary In musical films, songs by the characters are interwoven into the story. When characters sing, they reveal their inner emotions and thoughts using the song’s message. Any manipulation in dubbing of these songs into other languages can and does result in changes in how the original singers’ characterization is represented for the new audience. To study the impact of the dubbed songs on the singer’s characterization, we reviewed the previous studies and came up with a new way for characterization analysis in dubbed songs by merging and adapting some the models from translation studies and film studies fields. Next, we sued the model to study the Persian dubbed version of the songs of the hit musical animated film, Frozen (2013). The results reveal various changes in the dubbed version in terms of characterization through changing the visual and verbal aspects of the songs in a way that the Persian dubbed version portrays the singers’ characterization considerably dissimilarly.
Rozprawy doktorskie na temat "Illustrated songs"
1
Herendeen, David Warren. "Lanes of Severn: Ivor Gurney, as illustrated by his war songs, 1915-1918." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186264.
Pełny tekst źródłaStreszczenie:
Ivor Gurney was born in Gloucester on August 28, 1890; he died on December 26, 1937, age 47, in a London asylum. Though he had a relatively short life, he lived during a most dynamic time in British history; he was a part of the rebirth of British song and the trauma of World War One. These events, by dint of his experiences, are given a unique voicing through his songs, for Gurney was in no way a normal composer. He was an unbalanced genius whose turbulent life and endearing personality touched many of the central figures of British music in this period. His 300 songs and song sketches fall into roughly four periods of composition and parallel this dramatic life from schooling, to war, to mental breakdown. This study examines his considerable song output through the investigation of his second and most intense period of composition: 1915-1918, the war years. Although the war period is nowhere near his most prolific, the songs composed during war's chaos provide a good departure point for ordered investigation; they are a microcosm and in many ways his best and most innovative work. Six songs from this period are investigated: 'By a Bierside', 'The Fiddler of Dooney', 'In Flanders', 'The Folly of Being Comforted', 'The Scribe', and 'Severn Meadows'. These songs, written "in the trenches" strongly reflect Gurney's stylistic tendencies, define his compositional importance and personal values. The analysis for each song will begin with the circumstance in which it was composed. Gurney's choice of text, approach to declamation, harmonic language, use of the piano, and aesthetic intent will then be related to his environment, as this significantly influenced his song composition. Since he was an avid writer and also considered one of Britain's best war poets, Gurney's war correspondence and poetry will be used to support and clarify these analytical and aesthetic observations.
2
Cauche, Robin. "Des lanternes magiques aux lyric videos : chansons lumineuses écrites (XIXè - XXIè)." Electronic Thesis or Diss., Lyon 2, 2024. http://www.theses.fr/2024LYO20007.
Pełny tekst źródłaStreszczenie:
L’objectif principal de cette thèse est de postuler, pour l’étudier, la série culturelle des « chansons lumineuses écrites », soit une étude diachronique de la pratique consistant à écrire à l’écran les paroles d’une chanson, du XIXe au XXIe siècle. Ce faisant, notre second objectif, d’ordre théorique et méthodologique, est de mettre le concept de « série culturelle », forgé par André Gaudreault et précisé avec l’aide de Philippe Marion , à l’épreuve d’un cas particulier, et ainsi d’un ensemble d’exemples.Deux ensembles médiatiques donnent ses bornes chronologiques à la série culturelle : les plaques pour lanterne magique produites et commercialisées par la maison française Lapierre dans la deuxième moitié du XIXe siècle, et les lyric videos, des clips textuels officiels apparus sur YouTube vers 2010.Dans une première partie, on s’intéressera aux « vues sur verre en bande » Lapierre, des plaques de verre peintes à la main destinées à la projection domestique et illustrant des sujets populaires, dont des chansons. On documentera d’abord le fonctionnement des lanternes magiques en général et des séries de plaques commercialisées par les Lapierre en particulier, dans le but d’en proposer une méthode d’analyse esthétique pertinente. En retour, ce modèle pourra être éprouvé en s’appuyant sur le corpus spécifique des chansons illustrées Lapierre.Dans la deuxième partie, on montrera que la pratique des chansons écrites à l’écran ne disparaît pas au XXe siècle, et qu’une série culturelle se forme bel et bien, du XIXe au XXIe siècle. On s’intéressera donc à l’apparition des chansons lumineuses écrites selon trois types de médiums : lanterne de projection, pellicule cinématographique et vidéo. Par un dernier chapitre précisément consacré aux bouncing balls, on prouvera la permanence de notre série culturelle, sur le temps long et par-delà les médiums.Dans la troisième et dernière partie, on se penchera sur l’émergence des lyric videos, des clips officiels apparus vers 2010 sur YouTube, et illustrant surtout des chansons pop. Deux chapitres théoriques s’attacheront d’abord à révéler comment les lyric videos forcent à reconsidérer la théorie, l’histoire et l’esthétique des clips à l’ère de YouTube et des plateformes numériques. Trois chapitres s’efforceront ensuite de décrire et de comprendre le vaste corpus des lyric videos grâce à des approches comparative, générique puis génétique<br>The main goal of this thesis is to examine a cultural series that we designate as “chansons lumineuses écrites” (“written luminous songs”), hence producing a diachronic study of the cultural practice of writing the lyrics of a song on screen, from the 19th to the 21st century. In doing so, our second goal – of a theoretical and methodological nature – is to put the concept of “cultural series,” created by André Gaudreault and refined with the help of Philippe Marion , to the test of a case study, while working with a set of relevant examples.Two sets of examples give this cultural series its chronological boundaries: the magic lantern slides produced and marketed by the French firm Lapierre, in the second half of the 19th century, and lyric videos, official textual music videos which appeared on YouTube around 2010.In the first section of this thesis, we will focus on the Lapierre “vues sur verre en bande” (“glass views in strips”), hand-painted glass slides intended for domestic projection which illustrate popular subjects, including songs. We will document the technical functioning of magic lanterns in general and the series of slides marketed by the Lapierre firm in particular, to propose a relevant method of aesthetic analysis of these slides. In turn, we will put this method to the test as we examine the corpus of the Lapierre illustrated songs.In the second section, we will show that the practice of writing song lyrics on screen did not disappear in the 20th century, and that a cultural series exists, from the 19th to the 21st century. We will then focus on three types of medium: magic lantern, film, and video. A fourth chapter will discuss the particular practice of the bouncing ball and, through this example, we will prove the permanence of our cultural series, over the long term, and beyond changes of medium.The third and final part of this work will examine the emergence of lyric videos, official music videos which started appearing around 2010 on YouTube, illustrating mostly pop songs. Two theoretical chapters will first discuss how lyric videos force us to reconsider the theory, history and aesthetics of music videos in the era of YouTube and digital platforms. Three chapters will then attempt to describe and understand the vast corpus of lyric videos, using comparative, generic and genetic approaches. André Gaudreault and Philippe Marion, « The Unfinished Business of History: Defense and Illustration of the Concept “Cultural Series” », in The Oxford Handbook of Silent Cinema, edited by Rob King and Charlie Keil (Oxford: Oxford University Press, 2024), 95‑115
3
Gilbert, Gillian. "Vocal individuality as a census and monitoring tool : practical considerations illustrated by a study of the bittern Botaurus stellaris and the black-throated diver Gavia arctica." Thesis, University of Nottingham, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282621.
Pełny tekst źródła
4
蔡欣青. "The Illustrated Works of Plants in the Book of Songs Based on the Art Nouveau Style." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/82090675935497313599.
Pełny tekst źródłaStreszczenie:
碩士<br>國立臺灣藝術大學<br>視覺傳達設計學系碩士班<br>98<br>The theme of my thesis bases on the examples of the Art Nouveau works, while the plant
forms depicted in the Book of Songs are also employed. All the designs of my illustrations
follow the Art Nouveau style and the one-dimensional and vigorous elements of plants from
Nature which was portrayed in the Book of Songs are blended into my works. I try to catch the
supple postures of plants in my touch, with the analysis of the semiotics, to create illustrations
on the Art Nouveau-and-Book of Songs aesthetics.
The content includes the followings:
1. I studied, analyzed, and compared various Art Nouveau works. The result is the foundation
of my own works.
2. I searched the Book of Songs and sorted out those containing particular plants. Then I read
each poem carefully in order to understand its meaning fully. They become the themes of
my works.
3. Through the analysis of the semiotics, I made the illustrations of plants portrayed in the
Book of Songs.
4. The supple curve forms and visual effects of the Art Nouveau works were revealed to me
when I began to create my own works. I added them into my illustration works.
5
Lin, Yi-lin, and 林怡伶. "A Study on the Relationship Among Musical Perception, Place Attachment and Flow Experience--Illustrated by the Songs Possessing Local Images." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/92532236773558154837.
Pełny tekst źródłaStreszczenie:
碩士<br>南華大學<br>旅遊事業管理學系碩士班<br>98<br>The purpose of this research is to explore whether the peculiar local images can create the flow experience in the listeners through the activities of listening to folk songs and thus allow them, haunted with the musical conditions describing the place, time and affairs, to experience the intense local feeling and to further arouse their attachment to the place.
This research is conducted by analizing and exploring the three aspects of musical perception, flow experience and place attachment with the survey of questionaires. 450 copies of questionnaires are distributed and 386 copies of questionaires retrieved are valid. According to the outcomes from the valid questionaires conducted by the softwares of SPSS and AMOS, the analysis is proceeded in the statistical approaches of the descriptive statistics, the confirmatory factor analysis and the structural equation. The statistical figures reveal that the credibility validity, and structural models of the questionaires all correspond to the requirements of the basic satisfying standards, the overall model suitability and suitability of model inner structure questionaires.
The result of the research reveals: A）Musical perception definitely exerts a positive influence on flow experience; B）The stronger level of musical perception and flow experience one achieves, the more intense attachment one will have to the place. Based on the result of the research, it’s discovered that by appreciating folk songs, local images can obviously obsess the people with the atmosphere of the space and time and them make them create the flow flow experience, and therefore, arouse the attachment to the place. So the travel activities may follow.
Here is a suggestion to the travel activities and the hosting administration of travel activities. The introduction of the creating backgrounds, historical allusions, local customs of the songs possessing local images and the appreciation of the lyrics and melodies of the folk songs can be applied to interact and match perfectly with the tourist attractions. Not only can people’s cultural capabilities be enhanced but their willingness to go traveling can be reinforced as well.
6
Pessanha, Joana Araújo. "Caixa de sonos." Master's thesis, 2012. http://hdl.handle.net/10437/3615.
Pełny tekst źródłaStreszczenie:
Orientação : Patrícia Gouveia<br>Esta dissertação aborda questões relativas aos conceitos de narrativa e de narrativa
processual no contexto da experiência lúdica em espaços de configuração. Para este
efeito, sugere-se um sistema, a caixa de sonos, que visa a implementação prática de uma
narrativa visual processual enquanto terreno de experiência lúdica em meios tecnológicos.
Este sistema procura tirar partido de diferentes media para proporcionar, de forma
acessível, novos palcos e rituais performativos, através de narrativas visuais processuais
customizáveis e partilháveis. Em concreto, a caixa de sonos, propõe um sistema jogável
que possibilita, através da monitorização do comportamento do jogador ao longo da noite,
compor interactivamente um retrato simbólico da noite do mesmo. O processo de
composição é partilhado a partir de uma projecção direccionada para o tecto por cima da
cama do jogador, quando este se encontra acordado; sendo possível que a interacção
ocorra de forma activa ou passiva, dependendo do estado de vigia do jogador. Todas as
experiências simbólicas, bem como a totalidade das linguagens gráficas (base de dados
das composições processuais), são personalizáveis e passíveis de serem partilhadas
através de uma plataforma comunitária na rede digital.<br>This dissertation touches upon the concepts of narrative and procedural narrative in the
context of playful experience in configurable spaces. To this purpose, it presents a
system, the sleepy box [caixa de sonos], which aims to implement a procedural visual
narrative in the form of a playful experience that uses technological means. This system
seeks to leverage media in order to make possible new performative rituals and stages,
through customizable and sharable visual narratives. In a word, the sleepy box [caixa de
sonos], advances a playable system that symbolically portrays the player’s night time,
trough the monitoring of its behaviour as the night goes by. The composition process is
shared through a projection in the ceiling above the player’s bed while he’s awake;
thereby rendering it possible either a passive or an active interaction, depending on the
player’s state of alertness. Every symbolic experience is customizable, as are all graphical
languages (database of procedural composition); also sharable by means of a community
platform on the web.
Książki na temat "Illustrated songs"
2
1938-, Aldridge Alan, and Beatles, eds. The Beatles illustrated lyrics. Macdonald, 1990.
Znajdź pełny tekst źródła
3
Barry, Mann, and Paris Sisters, eds. I love how you love me: The illustrated lyrics. Andrews McMeel Pub., 2000.
Znajdź pełny tekst źródła
4
group), Orleans (Musical, ed. Still the one: The illustrated lyrics. Andrews McMeel Pub., 1999.
Znajdź pełny tekst źródła
5
Marilyn, Bergman, and Hamlisch Marvin, eds. The way we were: The illustrated lyrics. Andrews McMeel Pub., 2000.
Znajdź pełny tekst źródła
6
McGrath, Robin, writer of introduction, writer of added text and Paddon Harry 1881-1939, eds. The illustrated Ode to Labrador. Creative Publishers, 2016.
Znajdź pełny tekst źródła
7
Robert, Burns. The complete illustrated poems, songs & ballads of Robert Burns. Chancellor Press, 1990.
Znajdź pełny tekst źródła
8
Thomas, Moore. Moore's Irish melodies: The illustrated 1846 edition. Dover Publications, 2000.
Znajdź pełny tekst źródła
9
ill, O'Brien John 1953, ed. The twelve days of Christmas: Illustrated by John O'Brien. Boyds Mills Press, 1993.
Znajdź pełny tekst źródła
10
ill, Wolff Ashley, ed. She'll be comin' 'round the mountain: By Philemon Sturges ; illustrated by Ashley Wolff. Little, Brown, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Illustrated songs"
1
Leach, Robert. "Beeston’s Boys and the Sons of Ben." In An Illustrated History of British Theatre and Performance. Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-36.
Pełny tekst źródła
2
Powrie, Phil. "The Acoustic Wound: Reflections on the Crystal-Song in Five American Films." In When Music Takes Over in Film. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_3.
Pełny tekst źródłaStreszczenie:
AbstractThis chapter develops the concept of the ‘crystal-song’ which crystallises turning points in a film. It does not illustrate or echo what we see; rather, it articulates a privileged musical moment of intense affect, ‘wounding’ the image/music nexus as does Barthes’s punctum for the photograph. The crystal-song is the piece that stands out from the others by a combination of intensity and critical insistence. The chapter explores such moments in five recent US films. The first is the diegetically performed song that gives its title to the film in American Honey (2016) and Beautiful Boy (2018). The second explores references in the dialogue to the music we hear: a diegetic song that is referred to by the characters but not performed by them (Lady Bird, 2017); the third, a non-diegetic song in a film where performed music is constantly present and talked about (Call Me by Your Name, 2017). The final and more sustained case is a diegetically performed piano piece from La La Land (2016) which demonstrates that the musical moment does not have to be a single song with lyrics, nor the spectacular performance that is usually found in film musicals, La La Land included, but can also be a much-repeated musical motif. All of these musical moments have a critical and focal function, shaping audience affects and our perception of the narrative.
3
"Of the Sorrow Songs." In Illustrated Souls of Black Folk. Routledge, 2015. http://dx.doi.org/10.4324/9781315634043-24.
Pełny tekst źródła
4
Morgan, Alison. "‘Rise Britons, rise now from your slumber’: the revolutionary call to arms." In Ballads and songs of Peterloo. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0002.
Pełny tekst źródłaStreszczenie:
This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs written in the immediate aftermath of the massacre, thereby highlighting the intertextual dialogue between the poems which is illustrated not only by an ideological unity but also by the commonality of motifs, forms, styles and even tunes. Shelley’s Masque of Anarchy provides a well-known example of this trope and is used in the introduction to this section as an illustration of how radical poems and songs in the Romantic period utilised revolutionary discourse dating back to the sixteenth century. The section comprises ten poems which are exhortatory ballads or apostrophes. At times of national crisis, poets have called on their readers to ‘arise’ and awaken’, often drawing on those past events to prove that, if England could get rid of two kings, it could certainly get rid of a third.
5
Maloney, Paul. "Burns and Music Hall." In Performing Robert Burns. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474457149.003.0004.
Pełny tekst źródłaStreszczenie:
Music hall’s emergence in mid-nineteenth century Scotland brought enormous change in urban entertainments, as older pre-industrial traditions faced an influx of new cosmopolitan styles. This chapter explores how Burns was performed in the new urban contexts of Scottish music hall and its successor, variety theatre. These contexts included 1860s free-and-easies and singing saloons where Burns songs and recitations offered both continuity with older Scottish song traditions and subjects for parodies and satirical updating; his championing by Scotch comics and concert singers of the 1880s, like James Houston and WF Frame, who maintained working-class engagement with Burns through performances at temperance and trades union soirees; popular concerts, rural tours, illustrated lantern shows and comic sketches; Burns tribute songs; Burns songs in Rob Roy; and the promotion, from the 1890s, of Burns’s diasporic appeal by Scottish comedians performing to Canadian and US expatriate audiences. The chapter argues that, while music hall played a significant part in mediating and shaping the changing place of Burns in popular culture, by Scottish variety’s twentieth-century heyday Burns was elided into a constructed ‘national’ performance, predicated on tartan, Highland music and dance where, paradoxically, the lowland Burns emerged as the central bardic voice.
6
Morgan, Alison. "‘Base brat of reform’: the victimisation of mother and child." In Ballads and songs of Peterloo. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784993122.003.0004.
Pełny tekst źródłaStreszczenie:
A quarter of all casualties at Peterloo were women, even though they comprised only 12% of those present. This apparent victimisation of women by the Manchester Yeomanry Cavalry resulted in the widespread use of the motif of mother and child across a range of poems, other print media and cultural artefacts produced in response to Peterloo, leading to an intensification of impact rather than a dilution through repetition. The introduction traces the involvement of female reformers, particularly in the North West and their representation in graphic satire. Even though this section comprises only eight poems, the trope of woman and child as victims is present in many of the other poems in this collection as well as newspaper articles, graphic satire and other artefacts, resulting in a powerful discourse due to the sense of collectivity engendered by its repeated use. The introduction provides examples of how the representations of Peterloo depicted women and children, illustrating that the poems should be read alongside the caricatures of George Cruikshank and images printed on handkerchiefs, illustrated here by the work of John Slack, and pottery in order to fully understand the power and resonance of this single trope.
7
Brister, Wanda, and Jay Rosenblatt. "The Lady Composer at the End." In Madeleine Dring. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0008.
Pełny tekst źródłaStreszczenie:
The letters sent to American composer and pianist Eugene Hemmer allow Dring to speak in her own voice for the first time since the early diaries, documents that allow a glimpse into her musical as well as her personal life. There is a brief discussion of The Florida International Music Festival, which featured the US premiere of her most popular instrumental composition, the Trio for Flute, Oboe, and Piano, a work which provides a splendid example of her later musical style. Other works that are discussed include The Real Princess, a ballet written for Mari Bicknell’s Cambridge Ballet Workshop, and four song cycles: Dedications, Love and Time, Five Betjeman Songs, and Four Night Songs. Also documented are the first professional recordings of her compositions and the spiritual journey she undertook in her last years, the latter illustrated by talks that she gave at the Centre for Spiritual and Psychological Studies. Finally, her sudden death from a brain aneurysm is related through letters of Roger Lord and other documents, followed by her memorial service and concerts in her honor at the RCM.
8
Ty, Andrew. "Bridging the Senses: Medium and Materiality from Music Videos to Graphic Lyrics." In Bangtan Remixed. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059615-011.
Pełny tekst źródłaStreszczenie:
Inter- and extratextual media platforms define much of the realm of fandom and franchising. In “Bridging the Senses: Medium and Materiality from Music Video to Graphic Lyric,” Andrew Ty analyzes a set of illustrated books based on BTS songs and music videos that first introduced the The most beautiful moment in life albums’ Bangtan Universe storylines. Ty highlights how the physical objects of the Graphic Lyric books—the way they are physically designed—invite readers to manually handle the texts to engage with tactility. Ty argues that this “old” media, particularly in the rich transmedia landscape of Bangtan Universe and K-Pop in general, produces new ways of experiencing the audio and visual experiences of the songs and videos, which further enrich the fans’ engagement and memory of the original material.
9
Bailey, Trenton. "All ’N All." In Do You Remember? University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496843098.003.0005.
Pełny tekst źródłaStreszczenie:
The fourth chapter examines the All ‘N All album and the popular tour that followed. The author begins by analyzing the art related to the album—the first of many album covers illustrated by Shusei Nagaoka. The art combines Kemetic symbols with cosmic and spiritual imagery. Bailey then analyzes the songs on the album, beginning with the ambitious and intellectual “Serpentine Fire.” A deeper discussion of the band’s affinity for illusions and elaborate performances follows, along with the mysticism symbolism the band uses.
10
Koozin, Timothy. "Guitar Voicing I." In Embodied Expression in Popular Music. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197692981.003.0002.
Pełny tekst źródłaStreszczenie:
Abstract Chapter 1 focuses on guitar-based expression, showing how we can understand basic moves in guitar playing not only as building blocks in creating songs, but also as musical gestures carrying aural traces of human movement that can project attributes of a fictionalized virtual musical agent. The chapter begins with barre chords that can be grasped on the guitar fretboard at any location within boundaries up and down the guitar neck. Concepts are illustrated with examples selected from a broad range of artists, including the Kinks, Jimi Hendrix, the Rolling Stones, Neil Young, Tower of Power, and Lenny Kravitz. The study progresses from basics in how barre chords map to fretboard space, to more complex barre chord figurations and guitar riffs, to extended jazz chords based on familiar barre chord shapes found in songs by Lianne La Havas.
Streszczenia konferencji na temat "Illustrated songs"
1
Yusa, I. Made Marthana. "Dunia Sekar Branding Development through 2D Animation Illustrated Song." In Proceedings of the International Conference on Innovation in Research (ICIIR 2018) – Section: Economics and Management Science. Atlantis Press, 2019. http://dx.doi.org/10.2991/iciir-18.2019.19.
Pełny tekst źródła
2
Leick, Eva. "Encircling Transnational Peace through Khaita – Joyful Dances." In 8th Peace and Conflict Resolution Conference [PCRC2021]. Tomorrow People Organization, 2021. http://dx.doi.org/10.52987/pcrc.2021.004.
Pełny tekst źródłaStreszczenie:
Abstract This article investigates how Khaita- Joyful Dances promote an understanding of peace from a transrational and Buddhist perspective. Khaita dances have been created by the Buddhist Dzogchen master Namkhai Norbu as a practice of presence and collaboration, promoting an inner attitude of peace spreading from the individual to the group. Peace is hereby understood as a multi-faceted, intra- as well as interpersonal, dynamic state perceived and experienced not only by the intellectual mind but also through the body and subtle energies. This article is structured in three parts. First, I will explore peace theory in the context of Khaita. Second, I will illustrate the peace understanding promoted by the Tibetan artists through examples from the Khaita songs. The Tibetan song lyrics thereby express the wish for unification amongst Tibetans and the desire for (world) peace. Third, I will investigate the principles of accessible participation, equality as well as collaboration as parameters for peace experiences through examples from the Khaita practice sessions as well as Khaita Kordros, circle dances. The circle dances thereby offer an easy, non-hierarchical immersion in a diverse group of dancers and require presence and self-observation. KEYWORDS: transrational peace, peace theory, circle dance, Tibetan dance, Buddhism
3
Dermenji, Igor. "Aspects of creation portrait of a teacher Ion Radu." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.10.
Pełny tekst źródłaStreszczenie:
The article illustrates some biographical moments from the life and activity of Ion Radu, an accordionist and teacher at the Department of Folk Instruments at the College of Music and Pedagogy from Balți. The author presents his contribution to the training and development of the interpretive mastery of the students in the accordion class at the college, and also the rise of the professional activity and his major contribution to the enrichment of the accordion repertoire through numerous transcriptions for this instrument. At the same time, Ion Radu also promotes the folklore traditions, collecting about 150 folk songs from the Danube Bugeac, most of them being presented in the collection of folkloric works „Chiti, Miti”, thus demonstrating the continuity and viability of the local musical folklore.
4
Song, Ruxin, and Paul Stanton. "Advances in Deepwater Steel Catenary Riser Technology State-of-the-Art: Part II—Analysis." In ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79405.
Pełny tekst źródłaStreszczenie:
The Steel Catenary Riser (SCR) concept offers advantages over other riser concepts and has been widely deployed worldwide. The first deepwater SCR was installed in the Gulf of Mexico in 1994. Since then, more than 100 SCRs have been installed for many types of deepwater floaters (Spars, TLPs, SEMIs, and FPSOs) in the deepwater fields of West of Africa, the Gulf of Mexico (GoM), and Offshore Brazil. As the second of two companion papers, this paper presents the state-of-the-art of key analysis techniques of deepwater SCRs while the first paper addresses the design methodology [R. Song, P. Stanton, Ref. 4]. First of all, the procedure for analysis of deepwater SCRs is discussed and presented in more detail than given in the first paper and is also illustrated in an analysis flowchart. Wave theory applicable to deepwater SCR analysis and time domain vs. frequency domain analysis approaches are described and discussed. More focus is given to the strength analysis including discussion and comparison of regular wave and random wave approaches. Attention is paid to the vortex induced vibration (VIV) analysis including discussion of modal response analysis and VIV parameter selections. For SCRs on semisubmersibles and FPSOs, vessel heave-induced VIV needs to be taken into account, and a corresponding time-domain approach is presented. Similarly, for Spars and deep draft semisubmersibles, vortex-induced motion (VIM) fatigue damage of SCRs is discussed in more detail. Particular attention is also given to the analysis of SCR compression in the touch-down zone (TDZ) and corresponding acceptance criteria are presented. The application of fracture mechanics to engineering criticality assessment (ECA) is explored. Two examples of deepwater SCRs corresponding to a semi and a Spar are given to illustrate the presented methodology.
5
Zavidovskaia, Ekaterina, and Dmitrii Maiatskii. "COMPARATIVE STUDY OF THE ILLUSTRATIONS OF THE NOVEL INVESTITURE OF THE GODS BASED ON WOODBLOCK EDITIONS AND POPULAR PRINTS NIANHUA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.13.
Pełny tekst źródłaStreszczenie:
The authors of this paper discuss visual material based on the plot of the Ming dynasty novel Investiture of the Gods (Fengshen yanyi, 封神演義), formed on the basis of large corpus of written historical works and Song-Yuan vernacular literature. Various illustrated woodblock and lithographic editions of the novel (published before 1911) are discussed in chronological order with focus on the special features and artistic level of their illustrations, whose content and technique are compared. Popular woodblock prints nianhua from Russian collections are examined in order to trace whether connections with book illustrations exist and what episodes of the novel became more popular and for what reason. The paper refers to materials stored in prominent libraries, museums and research centers of Russia, Europe, US and Asia.
6
Tomoiagă, Ligia. "Names of characters in Game of Thrones: for and against multiculturalism." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/80.
Pełny tekst źródłaStreszczenie:
The Game of Thrones is one of the most popular shows in the world, with numerous audiences since it has been translated into many languages. Like any other such show, the reactions to it function like mirrors of contemporary themes and obsessions. As with most aspects of culture today, ideologues of all types – Marxists, conservatives, traditionalists, Critical Race Theory activists, intersectionalists, feminists, and others – always try to use such widely popular shows to illustrate their ideas and push their agendas. Some aspects of Songs of Ice and Fire have triggered debates on the issue of its characters as being not diverse enough, and thus showing how George R. R. Martin wrote a rather non-progressive book. This paper focuses on the names the author chose for his characters, and argues that the choice of names in the show is due to a wish of the author to evoke important world cultures, to have a sonority that matches the characters’ personalities, and to be both archaic and memorable. I have called such a view a non-ideological and symbolic one, and I think that viewers identify with the characters in the film due to their likes and dislikes, and not according to any kind of ideological claims. Nevertheless, these names can also be considered to be a good illustration of diversity – of ethnic, cultural, and racial background. For such a demonstration the study concentrates on the names of a few of the main characters, trying to come up with possible etymologies (as we know that Martin looked into such names of Medieval England) which are correct from a historical linguistic point of view, but which also can be interpreted as symbolic and have a rich connotation within the literary text.
7
Zhang, Mengmeng, Shixiao Fu, Haojie Ren, Runpei Li, and Leijian Song. "A Time Domain Prediction Method for Vortex-Induced Vibrations of a Flexible Pipe With Time-Varying Tension." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-77451.
Pełny tekst źródłaStreszczenie:
Prediction of vortex induced vibration (VIV) for a long-flexible pipe has always been an important concern for the design of risers. Currently, VIV prediction methods are mainly based on the linear beam theory, where the axial tension is treated as time-independent, and the couples between VIV and axial tension are totally ignored. However, experimental results have illustrated strong couples between the axial tension and VIV [1–2]. The purpose of this paper is to develop a time domain VIV prediction model. This model consists of pipe’s structural non-linearity, couplings between axial force, cross-flow/in-line (CF/IL) VIV responses, and the hydrodynamic forces. The hydrodynamic forces are further divided into vortex-induced force in CF and IL directions, and drag force in IL direction. The former one is determined via empirical force model based on forced oscillation test of rigid cylinders. The IL drag coefficients model considering the effects of VIV developed by Song [3] is adopted. VIV responses under these hydrodynamic forces at each time step are solved by Newton-Raphson method. Comparison between present method and the experimental results under uniform flows and shear flows are conducted, which verified the feasibility and reliability of the proposed method. In addition, by comparing the results under constant tension and time-varying tension, it is proved that the time-varying tension has a significant effect on VIV responses, especially under the case of high flow velocity and high vibration mode.
8
Shao, Yulong, Jineon Kim, Jae-Joon Song, and Chen He. "Experimental Investigation of Damage Evolution and Strain Fields of 3D-Printed Rock-like Specimens Based on X-Ray Computed Micro-Tomographic Imaging and Digital Volume Correlation." In 58th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2024. http://dx.doi.org/10.56952/arma-2024-0546.
Pełny tekst źródłaStreszczenie:
ABSTRACT: Some researchers have explored the feasibility of replicating the crack behavior of natural rocks with defects using three-dimensional (3D) printing technology. However, few have investigated changes in strain fields during compression experiments, even though this is crucial for understanding the crack behavior of 3D-printed rock-like specimens. This study examines the crack evolution and strain field distribution in the 3D-printed rock-like specimen to address this gap during the compression tests. In this study, a set of in-situ uniaxial compression tests was performed on 3D-printed rock-like specimens with an initial flaw with various inclined angles (α = 30°, 45°, 60°) using the high-resolution Micro-CT scanner with a loading apparatus. Based on the CT images of 3D-printed rock-like specimens obtained at different scanning steps, the 3D reconstruction and digital volume correlation (DVC) processes were applied to illustrate the damage evolution and quantify the 3D interior deformation of 3D-printed rock-like specimens. The results indicated that within the 3D-printed specimens, tensile cracks were first initiated near the internal flaw, followed by shear cracks or tensile-shear mixed cracks at the flaw tips. The characteristics of internal strain distribution before cracking indicated strain localization, and the cracking process of specimens was strongly correlated with radial strain distribution. 1. BACKGROUND Currently, methods for studying rocks' crack behavior, damage characteristics, and failure mechanisms in compression experiments include experimental approaches (such as rock coring and rock analog materials) and numerical simulation methods (such as finite element methods, discrete element methods, and finite difference methods). Due to their superior control and reproducibility, rock analog materials offer a better understanding of the crack behavior of rocks in compression tests. Traditional rock analog materials, including gypsum, sand, and cement-based materials, are prepared by casting methods. However, this method is low-precision, time-consuming, ineffective, and cannot produce samples with complex internal structures. 3D printing technology, one of the representative technologies of the Fourth Industrial Revolution, has been widely used in various fields, including rock mechanics and geotechnical engineering (Jiang et al., 2016; Song et al., 2018; Zhu et al., 2018). Researchers (Shao et al., 2023; Song et al., 2020; Zhou et al., 2020) have found through uniaxial and triaxial compression experiments that powder-based 3D-printed specimens exhibit lower strength, with their mechanical properties only matching those of low-strength sandstones, while resin-based 3D-printed specimens can match the high strength of natural rocks. Asadizadeh et al. (2019) studied the full-field strain evolution and crack propagation behavior of 3D-printed gypsum specimens with different initial defects in Brazilian split tests using Digital Image Correlation (DIC) technology based on powder-based 3D printers. They concluded that tensile cracking dominates fracturing under loading, while shear cracking is challenging. Song et al. (2023a) explored the mechanical response and deformation-cracking behavior of 3D-printed sand specimens with prefabricated flaws, shedding light on how fracture characteristics impact strength and failure modes. The results indicate that the fracture mode of 3D-printed sand specimens strongly depends on the inclination angle of the initial defect.
9
Istileulova, Yelena. "STEAM Approach: SMS (Stories Based on Music about Scientists) on Artificial Intelligence Created by Jacob Bruce (1669–1735)." In Socratic lectures 10. University of Lubljana Press, 2024. http://dx.doi.org/10.55295/psl.2024.ii15.
Pełny tekst źródłaStreszczenie:
Abstract: The proposed theme of this paper is how "Arts" and "Science," with the inclusion of the topic of "Health", can be combined through a story based on research about innovation in the Past. The goal of this paper is threefold. First, to present a research-based story about Jacob Bruce (1669–1735), a scholar of Scottish descent born in Moscow, and his innovation – the prototype of Artificial Intelligence, humanoid robot. Second, to illustrate the new experimental interdisciplinary method of storytelling - SMS (Stories based on Music about Scientists), a novel approach that integrates Arts (Music, Poem, Digital images), Science (Historical Research about Innovations of the Past), and Culture (cultural heritage with metaphor of a philosophical soul development). Third, to explain how this method can be applied. SMS method created in 2012 uses the Avant-garde genre of Music with the integration of interdisciplinary knowledge, holistic approach, and implies a deeper level of integration of various disciplines. The theme of this SMS is a song-story about the beautiful humanoid girl-robot (but with a different technology of the 17th century), which serves as a prototype of the modern homunculus or AI created by Jacob Bruce. AI humanoid already resembled a natural human being by the end of the 17th century. The author explains and discusses how and why SMS can be used as an Innovative Teaching and Learning method, related to Science and Arts (similar to STEAM approach), with the power of Lifelong Learning (LLL), and pedagogical didactics across branches of sciences, thus stimulating innovations and discoveries. Keywords: Arts and Science; Innovations; STEAM/SMS (Stories based on Music about Scientists) method; Jacob Bruce (1669–1735); Innovative Teaching and Learning; Health
10
Choi, J., J. Kim, and J. J. Song. "Influence of Sampling Window Geometry on the Variation of Fracture Trace Density." In 57th U.S. Rock Mechanics/Geomechanics Symposium. ARMA, 2023. http://dx.doi.org/10.56952/arma-2023-0418.
Pełny tekst źródłaStreszczenie:
ABSTRACT Sampling windows are essential tools for characterizing fracture distribution from rock exposures, yet few studies have focused on their geometry and how it affects the obtained fracture trace information. In this study, we investigate the influence of window dimension and orientation on the variation of trace density, derived by the end-point estimator, using analytic and numerical approaches. We employ rectangular, square, and circular windows for sampling the trace density of fractures with various dip angles using Monte Carlo simulations. We find that, regardless of window shape, the variation of trace density decreases as window size increases. Additionally, for rectangular and square windows, fracture dip angle affects the variation of trace density, with more impact on smaller windows. The variation is also impacted by the fracture density and fracture size. Our results illustrate that window geometry and fracture characteristics should be considered when conducting window surveys to acquire fracture data with reduced variance. INTRODUCTION Fracture characterization is an essential prerequisite for the analysis of rock mass behavior in both mechanical and hydraulic aspects. To describe the fracture distribution characteristics, including fracture spacing, density, size and orientation, rock exposures are investigated through window surveys by installing sampling windows upon the rock exposure and collecting data within the window. Different sampling windows have been suggested for the purpose of acquiring various fracture data. In an early study by Kulatilake and Wu (1984), a rectangular window was used to estimate the mean number of trace midpoints per unit area. Later on, Zhang and Einstein (1998) introduced circular windows to estimate mean trace length without orientation bias, and Mauldon (1998) proposed another method for estimating mean trace length and density using convex windows. The proposed methods were applied to an outcrop in Yingxiu, China, and their results were compared (Wu et al., 2011). Song and Lee (2001) also applied rectangular and circular windows to estimate trace length distributions, and reported comparisons between the two types of windows.