1,720,974 research outputs found
SPACE NOTATION IN ELECTROACOUSTIC MUSIC: FROM GESTURE TO SIGNS
No full textInternational audienceThis article is based on an analysis of the functionalities of many devices and software used for sound spatialization, an original research about space perception modes and finally an in-depth study about musical notation systems. Theses studies lead the author to propose a notation system for spatialization activities, simply based on the paradigm of our Western classical music notation. Various examples illustrate the merits and versatility of this proposal. The present notation is both descriptive and prescriptive. Thus, a practical implementation based on MIDI standard also makes possible instrumental space performances, implementation of algorithmic processes, space writing and structuring, but also offers access to all the existing software such as MIDI sequencer, MIDI computing and score writing. The MIDISpat plug-in-developed by the author-has been used for many years inside of Reaper digital audio sequencer
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
Notation de lʼespace en musique électroacoustique : du geste au signe
No full textInternational audienceL'écriture a pour fonction de donner du sens à cette grosse pelote embrouillée de sensations, de sentiments et de mémoire que forme notre perception de la réalité. Pierre Lévy (Les technologies de l'intelligence) Cet article prend appui sur une analyse des fonctionnalités des divers dispositifs et logiciels permettant de travailler la spatialisation du son, sur une recherche portant sur les modes de perceptions de l'espace et enfin sur une étude approfondie des différents systèmes de notation. Au vu de l'ensemble de ces connaissances, l'auteur propose une notation des activités de spatialisation reposant sur le paradigme de la notation de la musique classique occidentale. Divers exemples illustrent le bien-fondé et les aspects pratiques de cette proposition. La notation proposée est à la fois descriptive et prescriptive. C'est ainsi qu'une implémentation pratique basée sur la norme MIDI rend aussi envisageable un jeu instrumental de l'espace, la mise en place de processus algorithmiques en lien avec la structuration des idées, mais aussi l'usage de toute la panoplie de logiciels tels que séquenceur MIDI ou écriture de partition. Le présent article propose un système de notation de l'espace fondé sur le paradigme de la notation de la musique classique occidentale sur portée. Cette proposition surprenante fait suite : • à 20 années de pratiques et de recherches (voir bibliographie en fin d'article) ; • à une analyse approfondie des diverses pratiques de l'espace, des diverses stratégies de travail et de l'ensemble des logiciels disponibles sur le marché (voir résumé dans l'encart n°1 ci-après) ; • à des tests d'écoute qui ont permis de mettre en évidence des critères inédits de perception de l'espace (confirmant au passage l'inadéquation ou la méconnaissance des phénomènes d'espace par les développeurs de la plupart des logiciels audionumériques) (voir résumé dans l'encart n°2 ci-après) ; Dans un premier temps (I-Constats), nous allons montrer que les outils de spatialisation actuels-aussi performants soient-ils-travaillent sur une représentation graphique de la réalité (généralement gestuelle). Ces données brutes sont sans rapport avec le concept de notation. Dans un second temps (II et III), notre réflexion portera sur l'étude de la notation occidentale ; ce qui nous permettra de dégager 9 principes élémentaires en vue d'une notation de la spatialisation. Dans un troisième temps (IV à VII), nous proposerons une implémentation de cette notation de l'espace : théorique, graphique et enfin pratique. De nombreux exemples illustrent notre propos et (dé)montrent la validité de la proposition. Une implémentation MIDI simple à mettre en oeuvre est utilisée par l'auteur depuis le milieu des années 2000 dans de nombreuses circonstances : • interprétation spatiale d'oeuvres acousmatiques ou de sons fixés, • composition multiphonique en studio (en surround 5.1 ou 16 canaux), • live électronique ou musique mixte
Réflexions à propos de la mise en espace de la musique électroacoustique dans les logiciels audionumériques
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