177,032 research outputs found
R. Barrett. Critical / convulsive – the music of Roger Redgate (translated by A. Gundorina)
No full textRichard Barrett's article “Сritical / Convulsive – The Music of Roger Redgate” is one of the first works about a modern British composer R. Redgate. The publication was included in the first issue of the thirteenth volume of Contemporary Music Review (1995-1996), which focused on a group of British composers. The issue was entitled “Aspects of Complexity in Recent British Music”. Barrett was Redgate’s colleague and compatriot and witnessed the formation and development of his creativity first-hand. They were in touch for a long time, and their collaboration resulted in a creative project Ensemble Exposé, jointly founded by the composers in 1984. This makes Barrett's article especially valuable, since it provides a critical review and assessment of creativity and the creative process from the professional perspective of his counterpart. The article examines Redgate's early works written in the 1980s/early 1990s. Barrett focuses on the most important aspects of Redgate's works. He describes their genesis, provides an overview of his compositional techniques, and gives a few remarks on Redgate’s musical notation. Barret declares his approach to the study saying, “I have nowhere quoted or paraphrased the composer's words: it is axiomatic to my approach that it embodies a personal journey through somewhat hazardous terrain, in the hope that the reader will make his or her own.” The article by R. Barrett, first published in Russian translation, is supplemented with an introduction and notes by the translator
Notation, improvisation, writing: The early music of Roger Redgate.
No full textThis paper examines Roger Redgate"s music of the 1980s and early 1990s and its starting point relates to the composer"s approach to musical notation. Due to the complex notation of his music, Redgate has been categorised in the "New Complexity" school, a term that no associated composer feels comfortable with, since notational complexity does not imply a certain kind of music. Redgate"s approach is preoccupied with the (im)possibilities of notation, whose level of detail does not aim at precision (like John Cage, he is not interested in transcribing music already heard in the mind); rather, notation is part of a broader approach to compositional systematisation and improvisational techniques. Redgate"s compositional procedures, as he comments, include systems derived from notated fragments and serve to provoke a certain reaction on the composer"s part. In the same way that an improviser creates a form of notation (tablature) by developing their array of performance techniques, the composer uses notation by way of creating structures that engender processes. Redgate"s titles are frequently direct references to writing (Graffiti, Scribble) or point indirectly to the thought of philosopher Jacques Derrida (trace, +R, Pas au-delà – a deconstructive reading of the earlier Genoi Hoios Essi). For Derrida the question of writing (which is no longer subordinate in the binary opposition with speech) precedes, or merges with, the question of technique. The latter is thus situated between life (logos, presence) and death (writing, absence) due to the deconstructive processes and supplementarity within the binary opposition. In a similar way that the technology of the instrument is a form of writing for the improviser, notation (as the composer"s instrument) informs compositional technique. Roger Redgate"s early solo music sounds as if it was improvised. But although he is also an improviser himself, his compositions of the 1980s and 90s are always precisely notated. i This invites us to explore the problematics of notation in relation to improvisation. By this, we do not intend to recall the idea and practice of the open work, or that of the "freedom of the performer" -complex issues on their own. Redgate was a member of the Composers Forum at the Darmstadt summer school for a decade, from the mid 80s to the mid 90s, which is the period when Brian Ferneyhough was the artistic director; his style was formed in these years. The relation of his work with improvisation though, is not typical among the composers he is usually associated with. For Redgate, the problematics of notation and improvisation have also to do with his own references to philosophy and literature, especially a certain Francogerman tradition. In particular, but not only, Derrida"s early work: deconstruction, differance, trace. How does deconstruction work in music? I will start with a connection to music (of the numerous, and in many texts) that Derrida points out in Truth in Painting; in particular, when he analyses Immanuel Kant"s Third Critique and the widely known discussion about "free beauty", that which is "not signifying anything, not representing anything, deprived of theme and text". Music without theme and without text: this detachment from a concept of what the object must be, this finality without end, is what Derrida would later call "the without of the pure cut" (Derrida 1987, 97).
Notation, improvisation, writing: The early music of Roger Redgate. Available from: https://www.researchgate.net/publication/228414843_Notation_improvisation_writing_The_early_music_of_Roger_Redgate [accessed Dec 15, 2015]
SINGLE COMBAT (2015)
No full textSingle Combat is a tense open form work for shuffling CD or downloadable mp3s on shuffle mode. The idea was to create an engaging, long term listening experience from 77 sonic fragments ripped from improvisations between Roger Redgate (electric violin) and Matt Wright (turntable/laptop). One day of improvisations took place on 18th July 2014 and Wright mixed the material over the summer of 2014, completing the final fragments in early November 2014.
SIN BAT, an edited version of the CD, appeared on the WIRE Tapper 37, with approximately 20,000 readers worldwide.
WIRE URL: http://www.thewire.co.uk/audio/the-wire-tapper/the-wire-tapper-37-35632/
+R
No full textCD recording of +R for solo clarinet recorded by Rolf Borch on the CD Step Inside
Label: Aurora ACD 504
Appropriate Similarity Measures for Author Cocitation Analysis
No full textWe 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
"Closing the R&D Gap, Evaluating the Sources of R&D Spending"
No full textBoth spending and tax policies have been implemented in the United States with the goal of stimulating private sector research and development (R&D). Karier questions whether current R&D policy, especially the research and experimentation tax credit, can contribute to closing the gap between nondefense expenditures on R&D in the United States and such expenditures in other countries, such as Japan and Germany. He also explores possible changes to our current R&D policy to make it more effective.
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Letter from R. R. Zellick, Assistant Trust Officer, Anglo California National Bank of San Francisco, to Joseph R. Goodman, October 2, 1942
No full textLetter from R. R. Zellick, Assistant Trust Officer at The Anglo California National Bank of San Francisco, to Joseph R. Goodman, regarding property owned by Dave Tatsuno. Zellick mentions a dispute between current tenants and Tatsuno, and that Tatsuno has asked Goodman to help locate trustworthy tenants.Personal correspondence, organizational records, government documents, publications, and other papers created or collected by Joseph R. Goodman documenting the forced removal and incarceration of Japanese Americans during World War II, as well as organized resistance to incarceration. Included in the collection are records of the Japanese Young Men's Christian Association and the Japanese American Citizens' League in San Francisco, including papers of the Japanese YMCA's executive secretary Lincoln Kanai; Sakai family papers; Goodman's correspondence to and from Japanese American incarcerees, organizations opposing forced removal and incarceration of Japanese Americans, the War Relocation Authority, and others; publications, photographs, and ephemera from the Topaz Relocation Center, where Goodman taught high school; War Relocation Authority records and publications; and newspaper clippings, pamphlets, and reports about forced removal and incarceration created by various government, religious, and civic organizations, in California and nationwide
Dispelling the Myths Behind First-author Citation Counts
No full textWe 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
Liftings for noncomplete probability spaces
No full textThe current state of knowledge concerning liftings for noncomplete probability spaces is discussed. This is a somewhat expanded version of the author's talk given at the 1991 Summer Conference on General Topology and Applications in Honor of Mary Ellen Rudin and Her Work.PT: S; CR: BURKE MR, IN PRESS P AM MATH S BURKE MR, 1991, ISRAEL J MATH, V73, P33 BURKE MR, 1992, ISRAEL J MATH, V79, P289 CARLSON T, THEOREM LIFTING CHRISTENSEN JPR, 1974, TOPOLOGY BOREL STRUC FREMLIN DH, 1989, HDB BOOLEAN ALGEBRAS, P877 INOESCUTULCEA A, 1966, 5TH P BERK S MATH ST, V2 IONESCUTULCEA A, 1967, CONTRIBUTIONS PROB 1, P63 IONESCUTULCEA A, 1969, TOPICS THEORY LIFTIN JECH TJ, 1978, SET THEORY JOHNSON RA, 1980, P AM MATH SOC, V80, P234 JUST W, IN PRESS T AM MATH S KUPKA J, 1983, INDIANA U MATH J, V32, P717 LOSERT V, 1983, LNM, V1080, P95 MAHARAM D, 1958, P AM MATH SOC, V9, P987 SHELAH S, 1983, ISRAEL J MATH, V45, P90 TALAGRAND M, 1982, P AM MATH SOC, V84, P379 VONNEUMANN J, 1931, CRELLES J MATH, V165, P109; NR: 18; TC: 0; J9: ANN N Y ACAD SCI; PG: 4; GA: BZ86BSource type: Electronic(1
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