1,720,981 research outputs found
How Does Rosin Affect Sound?
No full text The effects of rosin properties on the bowed-string sound are frequently discussed among string players and luthiers. The following comments and questions are common: Rosin is rosin. Should I use different rosins for summer and winter? Does anyone actually have a method for quantitatively measuring the physical behavior of different rosins? What are the effects of hair scales and hair flexibility? In this article the author, who has been studying these effects over a number of years both as a professional player and as an acoustician, presents some of the underlying physical aspects relevant for further discussion. </jats:p
On the Kinematics of Spiccato Bowing
No full textA skilled string performer is able to play a series of spiccato notes (short strokes played by a bouncing bow) with each onset showing little or no aperiodic motion before a regular slip/stick pattern (Helmholtz motion) is triggered. Kinematic analysis reveals that a well-behaving bow gives nearly vertical impacts on the string, and that the first slip of each note takes place when the normal bow force is near its maximum. The complex movement of the bow stick can be decomposed into a translational and a rotational motion. Within one full cycle of the translational motion (down-up bow), giving two notes, the bow describes two periods of rotational motion. The axis of rotation is close to the finger grip at the frog. This paper discusses the relation between the quality of the spiccato and the phase lag between the two components of bow motion
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
REBECCA MERRITT Double Bass MASTER'S RECITAL Wednesday, September 27, 1989 8:00 p.m. in the Shepherd School Recital Hall
No full textPlaylist: Sonate in G major / Willem de Fesch (1687-1761) -- Parable for solo double bass / Vincent Persichetti (1915-1987) -- Elegy in D major / Giovanni Bottesini (1821-1889) -- Sonata for bassoon and cello, KV 292 / Wolfgang Amadeus Mozart (1756-1791) -- Variations on the tune Greensleeves / Knut Guettler (1943-2013) -- Concerto in E major / Karl Ditters von Dittersdorf (1739-1799).This recital is given in partial fulfillment of the requirements for the Master of Music degree
Variations on the Author
Full text link“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
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