1,358,566 research outputs found
Melbourne by night [music] : schottische /
No full textFor piano.; "Dedicated to the Melbourne Deutscher Turn Verein".; Also available online http://nla.gov.au/nla.mus-an5133116; N, Hince 1229; A, JAF
Kay Rosengren Interview, August 23, 2018
No full textKay Rosengren describes her experiences working with her husband Keith at Numa Ridge and Apgar lookouts in Glacier National Park. She tells how she and Keith came to Montana in part because he loved the outdoors. She talks about their friendship with the Park’s ranger Adolph Opalka and his wife Marian, who mentored the Rosengrens when they arrived at the Numa lookout. She reminisces about other rangers, lookouts and people she and her husband worked with during their time as lookouts. She also tells stories about their many wildlife encounters such as the porcupine she befriended, the deer who would come and knock on the stairs to be fed, and the pack rats who nested in the floor, as well as an aggressive black bear who chased her husband. Rosengren describes working as a dispatcher out of ranger stations in the Park and relaying messages about many things, including several grizzly bear attacks and getting tobacco dropped to smokejumpers.https://scholarworks.umt.edu/nwmt-ffla/1008/thumbnail.jp
Lessons Learned: Eric Rosengren
No full textEric Rosengren began working at the Federal Reserve Bank of Boston in 1985 and ultimately served as its president and CEO from 2007 to 2021, including during the Global Financial Crisis (GFC) and the COVID-19 crisis. He met with the Yale Program on Financial Stability (YPFS) to share insights related to the Federal Reserve’s crisis responses—particularly those during the pandemic. This Lessons Learned is based on an interview conducted with Rosengren on February 6, 202
Ground-state magnetic properties of the Kondo lattice model at low electron densities
No full textThe infinite-size version of the density-matrix renormalization-group approach in real space is applied to the Kondo lattice model in one dimension, providing a more accurate determination of the zero-temperature magnetic properties for electron densities n less than or equal to 0.5. The paramagnetic state of the free model evolves into a state with ferromagnetic correlations, by increasing the strength of the Kondo coupling, in agreement with previous numerical results. The change in the magnetic properties is produced by the competition between the RKKY mechanism, which favours the paramagnetic state in the weak-coupling region, and the Kondo screening, which leads to the formation of tightly bound singlets in the strong-coupling region, enforcing ferromagnetic correlations in the system
On Creation, Cave Art and Perception : a Doxological Approach
No full textPresenting doxology as a post-phenomenological way of approaching epistemic and perceptual questions, this article draws on the problematic of "cave art" and contemporary cognitive science. Perception and cognition are not reflections of objective reality; they are forms of creative productivity, specific for man and depending on both biological and sociocultural factors. Departing from some of the main ideas of E. Cassirer, L. Fleck, P. Bourdieu and J. Derrida, the author shows the complexities of the interweaving of biological and social factors in the perception process. Analyzing the first attempts at understanding paleolithic mural cave art, the author tries to answer the question of how man creates new knowledge needed for living in our human world (see also [Rosengren 2012, 63-72]). A central tenet is that human knowledge has never been and will never be epistemic (in the Platonic sense), since man does not have direct unmediated access to reality itself. Defending this idea, the author gives a doxological interpretation of Protagoras' homo-mensura thesis (see also: [Rosengren 2014, 171-178]) and, in fact, speaks of the need to abandon the principles of traditional and, as it were, metaphysical theory of knowledge. Instead, he proposes to take a doxic point of departure and proceed from the observed situatedness and the variability of our knowledge.</p
Density-matrix renormalization group for fermions: convergence to the infinite-size limit
No full textQuantum Ising model in a transverse random field: a density-matrix renormalization-group analysis
No full textFrån pappret till premiären: en processbeskrivning över instuderingen och genomförandet av den nyskrivna musikalen "Tjugo sekunder"
No full textDetta examensarbete är en processbeskrivning över instuderingen och genomförandet av den nyskrivna musikalen ”Tjugo sekunder”. I det här arbetet beskriver jag de delmoment som en medverkande skådespelare går igenom när hen arbetar med en musikal. Jag beskriver också vad som kan skilja sig i arbetet när man producerar en nyskriven musikal i jämförelse med en redan existerande musikal. Jag behandlar områden som till exempel instudering av manustext, instudering av musik och vad man bör tänka på som skådespelare/sångare när man är med i en musikal. Även hur covid-19 påverkat produktionen behandlas.
Syftet med detta arbete är att beskriva en inlärningsprocess, från initialskede till färdig produkt. Med denna beskrivning ger jag läsaren en inblick i produktionen av musikalen “Tjugo sekunder”:s olika faser och vilken kunskap jag fått av att genomgå denna process. Mina forskningsfrågor är följande: Hur skiljer sig inlärningsprocessen då ett original saknas från en process var det redan finns referensmaterial till förfogande? Hur förbereder man sig för övningsperioden? Hur håller man sig mentalt närvarande under föreställningarna?
Arbetet behandlar de delmoment som ingår i en musikal från provspel till premiär och om hur man upprätthåller fokuset under föreställningarna. Jag beskriver också hur jag arbetade med inlärningen av manustexten och dess tolkning samt inlärningen av musiken, hur man kan gå till väga för att lära sig nyskriven musik som till exempel med hjälp av ett notskrivningsprogram.
Slutligen beskriver jag likheten i arbetssättet mellan en nyskriven musikal och en musikal med redan existerande material som man kan ta referenser från. Skådespelarens skapande av sin karaktär är enligt mig likadan oberoende av existerande referenser eller inte. I min åsikt är musikinstuderingen det enda inlärningsarbetet som skiljer sig mellan nyskrivet och icke nyskrivet. Med nyskrivet så finns musiken inte inspelad vilket betyder att uppfattningen av musikens helhet tar längre tid att lära sig.Tämä oppinäyte on prosessikuvaus vastakirjoitetun musikaalin "Tjugo sekunder":in opiskelusta ja toteutuksesta. Tässä työssä kuvaan niitä osia, joita osallistuva näyttelijä käy läpi työskennellessään musikaalin parissa. Kuvaan myös mitä eroa työkuvassa on, kun tuottaa vasta kirjoitetun musikaalin verrattuna jo olemassa olevaan musikaaliin. Käsittelen esimerkiksi käsikirjoituksen harjoittelua, musiikin harjoittelua ja sitä, mitä sinun pitäisi ajatella näyttelijänä/laulajana musikaalissa. Käsitellään myös sitä, miten Covid-19 vaikutti tuotantoa.
Tämän työn tarkoituksena on kuvata oppimisprosessia alkuvaiheesta valmiiseen tuotteeseen. Tällä kuvauksella annan lukijalle käsityksen musikaalin "Tjugo sekunder" tuotannon eri vaiheista ja siitä, mitä tietoa sain tästä prosessista. Tutkimuskysymykseni ovat seuraavat: Miten oppimisprosessi eroaa, kun alkuperäinen puuttuu prosessista, josta on jo saatavilla viitemateriaalia? Miten valmistaudut koulutusjaksoon? Miten pysyt henkisesti läsnä esityksen aikana?
Tämä työ käsittelee musikaaliin kuuluvia osia harjoituksista ensi-iltaan ja miten ylläpidät keskittymistä esitysten aikana. Kuvaan myös, kuinka työskentelin käsikirjoitustekstin ja sen tulkinnan oppimisen sekä musiikin oppimisen parissa, miten edetään uuden kirjoitetun musiikin oppimiseen esimerkiksi musiikinkirjoitusohjelman avulla.
Lopuksi kuvaan vasta kirjoitetun musikaalin ja musikaalin työskentelytavan samankaltaisuutta jo olemassa olevan materiaalin kanssa, josta voi ottaa referenssejä. Mielestäni näyttelijän luoma hahmonsa on sama riippumatta olemassa olevista viitteistä vai ei. Musiikin opiskelu on mielestäni ainoa oppimistyö, joka eroaa vastakirjoitetun ja ei-vastakirjoitetun välillä. Juuri kirjoitettaessa musiikissa ei löydy äänitteitä, mikä tarkoittaa, että musiikin kokonaisuuden oppiminen kestää kauemmin.This thesis is a process description of the study and implementation of the newly written musical "Tjugo sekunder". In this work, I describe the parts that a participating actor goes through when he works with a musical. I also describe what differs in the work when producing and newly written musical in comparison with an already existing musical. I deal with areas such as rehearsing the script, rehearsing music and what you should think about as an actor/singer when you are in a musical. How Covid-19 affected the production is also treated.
The purpose of this work is to describe a learning process, from the initial stage to the finished product. With this description, I give the reader an insight into the production of the musical "Tjugo sekunder"'s different phases and what knowledge I gained from undergoing this process. My research questions are the following: How does the learning process differ when an original is missing from a process where reference material is already available? How do you prepare for the training period? How do you stay mentally present during the performances?
The work deals with the parts that are part of a musical from rehearsal to premiere and about how to maintain focus during the performances. I also describe how I worked with the learning of the script text and its interpretation as well as the learning of the music, how to go about learning newly written music, for example with the help of a music writing program.
Finally, I describe the similarity in the way of working between a newly written musical and a musical with already existing material from which one can take references. In my opinion, the actor's creation of his character is the same regardless of existing references or not. In my opinion, studying music is the only learning work that differs between newly written and nonnewly written. With newly written, the music is not recorded, which means that the perception of the music, as a whole, takes longer to learn
How should monetary policy respond to a slow recovery?
No full textPresentation by Eric S. Rosengren, President and Chief Executive Officer, Federal Reserve Bank of Boston, for The Forecasters Club of New York, September 29, 2010Monetary policy
Critical properties and phase diagram of the quantum anisotropic XY spin chain in a random magnetic field: a density-matrix renormalization-group analysis
No full text- …
