1,720,968 research outputs found
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
Familiarity, schemata and patterns of listening
No full textThe origins of this work, as in much research, lie in a personal experience. My first exposure to a selection of Schoenberg’s piano works (which happened to be through a recording) had resulted in an ambivalent response, but upon hearing the same recording some months later for a second time, I found the experience more enjoyable and the music much easier to understand. Perhaps this was to be expected, but I was curious: what was it about the second listening that made it so much easier than the first? What was it that let me access the music in a manner akin to other piano music, and experience emotional responses to it, when I had not been able to do either of these things the first time? There may have been many situational factors, but becoming familiar with the music almost certainly played a role in this transformation
Groove as Familiarity with Time
No full textThe chapter explores the instrumentalist’s relationship with musical time, arguing that the capacity for groove in solo performance depends upon the musician’s familiarity with stylistically nuanced conceptions of pulse. Much research dealing with groove characterises it as a participatory phenomenon occurring between two or more musicians (see Keil & Feld (1994) and Doffman (2008), for example) but in a solo performance groove derives from participation between the performer and time itself. According to the stylistic context, the performer’s temporal frame of reference might include absolute metronomic time, an implicitly polymetric timeline such as that found, for example, in Cuban rumba, or the unchanging drum loops which predominate in hip hop production. The more familiar the performer is with time, and especially with whichever nuanced conception of pulse is appropriate to their stylistic context, the more effectively they are able to groove. Musical examples used to illustrate the chapter focus on solo drumming extracts found in 1970s funk recordings. These are discussed both in their original state as performances, and also in their recontextualised state when used as ‘breakbeats’ in hip hop, where they inform the MC’s conception of pulse
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
The role of engagement and visual imagery in music listening
Get PDFThis thesis investigates music' responses to a selection of complete nineteenth and twentieth century piano works, with respect to their levels of musical engagement (heightened attention and interest towards the music; Olsen, Dean & Stevens, 2014) and their experience of music-induced visual imagery. Although engagement and visual imagery have been increasingly explored over the past two decades, little work has investigated the relationship between the two. Potential links, however, exist: for instance, the way visual imagery is described as one of the key mechanisms underlying listeners' emotional responses to music (Juslin et al., 2013). This thesis draws upon three different methodological approaches: two exploratory studies empirically investigate listeners' responses quantitatively, as well as qualitatively; the third study, a self-reflective account, draws upon the researcher's personal visual imagery experience as a performer.In the two empirical studies, listeners provided continuous self-report measures of their engagement with the music, as well as the occurrence of any visual imagery during listening. Time series analyses revealed that engagement with the music was significantly associated with the experience of visual imagery; this was the case in both Studies 1 and 2. Granger causality tests were carried out to investigate the details of this relationship: overall, engagement mostly predicted visual imagery in Study 1; whilst a bidirectional relation of the series emerged more frequently in Study 2. In both studies, however, differences according to the piece and to the musical experience of the listener were apparent. A selection of listeners' individual differences (such as musical experience) are also reported, with respect to engagement and visual imagery responses. A thematic analysis of the qualitative data, collected through free written annotations and face-to-face interviews, led to the emergence of nine broad ‘visual imagery types’: (1) Arbitrary, (2) Shared Musical Topics, (3) Idiosyncratic Sound Associations, (4) Emotions, (5) Material Abstraction, (6) Narratives, (7) Performance, (8) Personal Recollections, and (9) Pictorial Associations. Examples of each category, alongside insights into the diverse range of imagery experiences, are provided. Finally, the self- reflective account explores visual imagery from a different perspective: the performer as listener. A pianist's visual imagery experiences are investigated across two contexts: the practice of a piano- duet work, comparing imagery data with that of a second pianist; and practising from memory, exploring the way imagery experiences may change with the absence of the score. Links to the qualitative ‘visual imagery types’ model are drawn throughout this exploration
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