1,722,834 research outputs found
El dors estrellat de la salamandra
Get PDFAquesta curiosa descripció d'un animal que segurament hem vist en els nostres boscos ombrívols i humits, apareix en el tom VI del Diccionario de autoridades, publicat per la Real Academia de la Lengua Española en 1739. Evidentment, la salamandra no és un insecte, sinó un amfibi urodel (és a dir, «amb cua»), té mascles i femelles (en algunes subespècies larvípares) i, per descomptat, no resisteix el foc. Però el primer Diccionario de la RAE segueix la creença medieval d'un animal fabulós amb la llengua en forma de dard i tot el dors cobert amb una renglera d'estrelles. I així és representat en molts llibres antics. Per una altra part, probablement hem vist en una casa antiga una gran «salamandra» de ferro colat, què és una estufa panxuda on es crema carbó, amb una finestra d'un vidre gruixut que permet de veure el foc interior
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
Get PDFMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
Averaged DORs in the 2-chord condition.
No full textBox-plots of the averaged DORs with respect to (a) the interval, (b) the first chord, and (c) the second chord.</p
Averaged DORs in the 3-chord condition.
No full textBox-plots of averaged DORs with respect to the interval (a) from the first chord to the third chord, (b) from the second chord to the third chord.</p
Grouping analyses of the DORs.
No full text(a) Result of non-metric multidimensional scaling analysis (in the two-dimensional case, stress mth chord and the nth chord (i.e., the last chord) are represented by Cm-Cn. Distance between the circles illustrates dissimilarity between chord-pair intervals. (b) A tree plot of the hierarchical clustering. Length of the connection path represents the distance of the DORs between corresponding intervals.</p
Weighted diagnostics odds ratios (DORs) of selected screening tools.
No full textWeighted diagnostics odds ratios (DORs) of selected screening tools.</p
Rond de conceptualisering van intercultureel onderwijs : een notitie voor onderwijskundigen, beleidmakers en overige belangstellenden /
No full textBibliography: p. 65-69
Dors ! : rêverie-valse pour piano : op. 12 / par Emile Bonnamy
No full textTitre uniforme : Bonnamy, Émile (18..-1920). Compositeur. [Dors !. Piano. Op. 12]Valses (piano) -- +* 1800......- 1899......+:19e siècle:Piano, Musique de -- +* 1800......- 1899......+:19e siècle
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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