436 research outputs found
Measurements of forward proton production with incident protons and charged pions on nuclear targets at the CERN Proton Synchroton.
No full textLarge-angle production of charged pions by 3-GeV/c - 12.9-GeV/c protons on beryllium, aluminium and lead targets
No full textReport on HARP Data comparisons
No full textComparisons between two analyses: - The HARP Collaboration - The HARP CDP Grou
Comments on TPC and RPC calibrations reported by the HARP Collaboration
No full textThe HARP Collaboration recently published calibrations of their TPC and RPC detectors, and differential cross-sections of large-angle pion production in proton-nucleus collisions. We argue that these calibrations are biased and cross-sections based on them should not be trusted.The HARP Collaboration recently published calibrations of their TPC and RPC detectors, and differential cross-sections of large-angle pion production in proton-nucleus collisions. We argue that these calibrations are biased and cross-sections based on them should not be trusted
Dialogue and Collaboration in the Creation of New Works for Clarinet
No full textThis PhD thesis explores dialogue-based, “intimate” collaboration through the creation of new works for clarinet. It borrows from Grounded Theory in order to facilitate an analysis through which emergent themes within a dialogue-based
collaboration are discovered. The aim has not been to insist on one model of collaboration, but to discover methods for improving one’s collaborative skills and to identify ways in which one benefits from a focus on dialogue in
collaboration. Furthermore, it aims to suggest that through collaboration one can make discoveries about the instrument: original contributions to clarinet technique are made within this thesis. The literature from which the research draws inspiration to further collaborative “technique” is cross-disciplinary and wide-ranging: it draws from social theory, collaborative creative writing, dance, the visual arts and of course, music. Added to this is a select discussion of collaboration throughout the repertoire of the clarinet. Finally, this consists of practice-based research. Seven new pieces for clarinet accompany the text
Third Addendum to the HARP WhiteBook
No full textIn this 'Third Addendum to the HARP WhiteBook', we present a detailed rebuttal to the 27 arguments against our TPC calibration work that were put forward by the 'HARP Collaboration' in their "Comments on 'The Harp Time Projection Chamber: characteristics and physics performance' by V. Ammosov et al.", and show 26 of them to be wrong, or inappropriate, or without substance
Language revitalization in Northern California: Awakening the Wappo language
No full textThe Wappo language of Sonoma and Napa counties, California, has been considered
“extinct” since the passing of its last first-language speaker, Laura Fish Somersal, in 1990. However, a large amount of the language was documented during the 20th century. Paul Radin collected several Wappo narratives (1924) and wrote a grammar of the language (1929). Jesse Sawyer spent many years working with Laura Somersal and other Wappo speakers in the 1960s and 1970s, and published an English-Wappo dictionary (1965). Sawyer also recorded dozens of hours of elicitation and conversation with Laura Somersal during the 1960s. Sandra A. Thompson, Joseph Sung-Yul Park, and Charles N. Li also worked with Laura Somersal, in the 1970s and 1980s, and produced a concise modern reference grammar (2006). th
In June 2012, the author and two Wappo community members participated in the 10 Breath of Life Workshop at the University of California, Berkeley; excited by our experience, we decided to embark on a language revitalization program among the Wappo community.
In this forthcoming revitalization program, two approaches will be taken. The author will synthesize the extant documentation of the Wappo language (including both published works and unpublished fieldnotes and audio recordings) into a new reference grammar, a teaching grammar, and a bilingual dictionary. The Wappo members, drawing on some of the techniques outlined in Hinton 2002, will begin spoken-language instruction among the tribal community, focusing on the use of Wappo among youth groups engaged in culturally-based service projects. It is felt that introducing the language through the domain of community service and cultural activities will be both more effective and more adaptable than formal classroom instruction.
Our goal is to gradually re-introduce the Wappo language into community life, at all age levels but particularly among youth; this approach is necessitated by the lack of elder native speakers, but also desirable because of the important role youth play as instruments of social change and incipient community leaders. The materials produced will also provide the basis for a language instruction program for the community once a “critical mass” of active participants is cultivated. In both aspects, we will be drawing on much of Joshua Fishman’s Reversing Language Shift framework (Fishman 2001: chs.1 &19). We are very optimistic that, through these approaches, the Wappo language will return to use among the Wappo tribal community, reinforcing the community’s cultural life, traditional practices, and political and economic independence
Harp Instruments in Silapathikaram
No full textSilapathikaramm is the first text in Tamil literature. It is a very famous epic by Ilango Adigal. This epic is a cultural story based on the Tamil tradition and the story centers around an anklet. Ilango Adigal has used an ordinary couple, Kannaki and her husband Kovalan. In this text harp music is given importance. During the festive seasons the town of Bukhar is filled with songs and music. The author has explained about the seven types of musical instruments. In the text Madhavi was taught to play the harp by a musician. Madhavi learned it effectively and systematically. The text praises the merits of musical instruments. Tamil Vidu Toothu, a Tamil text states that with the help of five musical instruments such as tholkaruvi, thulaikaruvi, kanjakaruvi, narambukaruvi and midatrukaruvi 103 musical varieties are formed. Harp instruments are made using bamboo, sandal wood, charcoal, ebony and bronze. Thus, the article gives a clear information about the harp instrument
Ireland’s Harp
No full textThis collection of research articles on extremely varied topics examines different aspects of the history of the harp during the 18th and 19th centuries, and how the instrument came to be a major signifier of Ireland and Irishness. It is richly illustrated with two sets of 8 pages in colour, and additional black and white documents inserted in the text, and also includes an index of names. Mary Louise O’Donnell, the author, is a harp player and a researcher with a respectable list of publicat..
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