1,720,989 research outputs found
Eric Gross: Klavierstucke II (1980-86)
No full text"Even though each of Eric Gross's Klavierstucke was composed on a quite separate occasion - the three pieces were written in 1980, 1983 and 1986 respectively - they do form a unified set, as the pieces all display similar fonnal devices ar1d stylistic characteristics. Formally, each of the Klavierstucke can be seen to be based upon the principle of variation set within contrasting sectional structures involving the development and metamorphosis of different thematic or motivic cells. Therefore, a modular or lattice-like structure is generated in which predominantly self contained musical fragments reappear in a modified, expanded or truncated form within a musical context quite different from that in which they first appeared. One may find, for example, two variants of different musical cells placed together even though the original cells appeared earlier in quite different sections of the piece. Such cells as well as wholes sections within each Klavierstuck are quite clearly defined and are frequently separated by a caesura or ritardando, or a sudden change in dynamic. The fundamental principle of variation, as a generator of musical material, is, of course, firmly rooted in the jazz tradition. Furthermore, even though each of the pieces has a clearly audible musical logic, the feeling of discontinuity caused by this mosaic variation structure tends to negate any sense of the classical notions of climax and repose. Several stylistic traits readily derivable from various jazz idioms may be seen at work in the Klavierstucke. From the softer, lyrical, jazz ballad and night club styles comes an often flexible approach to rhythm and tempo. Also common are arpeggio-derived or thick, lush and frequently dissonant chordal textures covering a large part of the piano keyboard." -- Ian Shanaha
Eric Gross: Klavierstucke I (1980-86)
No full text"Even though each of Eric Gross's Klavierstucke was composed on a quite separate occasion - the three pieces were written in 1980, 1983 and 1986 respectively - they do form a unified set, as the pieces all display similar fonnal devices ar1d stylistic characteristics. Formally, each of the Klavierstucke can be seen to be based upon the principle of variation set within contrasting sectional structures involving the development and metamorphosis of different thematic or motivic cells. Therefore, a modular or lattice-like structure is generated in which predominantly self contained musical fragments reappear in a modified, expanded or truncated form within a musical context quite different from that in which they first appeared. One may find, for example, two variants of different musical cells placed together even though the original cells appeared earlier in quite different sections of the piece. Such cells as well as wholes sections within each Klavierstuck are quite clearly defined and are frequently separated by a caesura or ritardando, or a sudden change in dynamic. The fundamental principle of variation, as a generator of musical material, is, of course, firmly rooted in the jazz tradition. Furthermore, even though each of the pieces has a clearly audible musical logic, the feeling of discontinuity caused by this mosaic variation structure tends to negate any sense of the classical notions of climax and repose. Several stylistic traits readily derivable from various jazz idioms may be seen at work in the Klavierstucke. From the softer, lyrical, jazz ballad and night club styles comes an often flexible approach to rhythm and tempo. Also common are arpeggio-derived or thick, lush and frequently dissonant chordal textures covering a large part of the piano keyboard." -- Ian Shanaha
Ministère de la Culture et de la Communication. Cabinet du Ministre : Philippe Douste-Blazy. Conseiller technique : Eric Gross [BnF]
No full textRéférence FR AN 20010422/ Intitulé Ministère de la Culture et de la Communication, Cabinet du Ministre :, Philippe Douste-Blazy Conseiller technique, Eric Gross Dates extrêmes 1986-1997 Niveau de description Fonds Importance matérielle 9 pièces Nom du producteur Eric Gross Historique de la conservation Le fonds est conservé aux Archives Nationales. Présentation du contenu Ce fonds regroupe les documents du conseiller technique chargé du livre et de la lecture sous le mandat mini..
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
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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