1,721,556 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
Steve Reich. A new musical language
No full textNew York Counterpoint (1985) playing over New York scenes intercut with shots of Steve Reich in rehearsal walking in the street. Reich’s VO gives basic biographical details. Reich in interview talking about studying percussion; Professor William Austin encouraged him to become a composer. Reich VO over shots of himself at rehearsal talking about working with Hall Overton, and going to the Julliard School where his percussion work took second place to classical studies. Michael Tilson Thomas talking about the "joyous quality" of Reich’s music, and having to think about the notes in different ways. Richard Stoltzman playing New York Counterpoint. Talking about the repetitive nature of the piece which he grew to like. Stoltzman playing. Four Organs (1970) being performed in the Union Chapel, Islington. Reich’s VO talking briefly about this work. Tilson Thomas talking about the first performance in Boston, where the audience began to protest and he and Reich had to mouth timings at each other above the noise. Come Out (1966). Reich tells story of composing this as a benefit for the Harlem Six, from tapes he was given, and following the advice of William Carlos Williams to work with speech rhythms as they exist rather than to try to set them to a fixed metre. Demonstrates how this works. Film of rail yards, car park, etc. Reich talking about the music of Hans Eisler, Kurt Weill, and Richard Wagner and not being able to be influenced by politics. Pendulum Music (1968). Reich explaining over how this piece came about. He talks about transferring his two interests of tape and electronic music to live musicians, with Piano Phase (1967) being the first of these experiments. Four Organs. Reich talking about studying with the Ewe people of Ghana. Drumming (1970-1971). Reich talks briefly about the changes that these studies made to his work and describes the different parts of Drumming. Notation for Clapping Music (1972). Reich describes how this piece came about. Performance. Score for Music for Pieces of Wood (1973) which Reich describes as an extension of Clapping Music. Performance. Reich talking about the "rhythmic ambiguity" of his chamber music, and the difficulties it posed for the musicians. Music for Pieces of Wood. His solution is to have "multiple candidates for the down beat". Reich at the piano; VO talking about how he composes. Score in progress. Trying out xylophone against tape. Rehearsal of Music for 18 Musicians (1974-1976) at Avery Fisher Hall. Occasional Reich VO talking about performing the work, frequently with the same players. Reich responds to question about performances of his work which don’t include any of his regular musicians by talking about performances of The Desert Music in Cologne and of Music for Mallet Instruments, Voices and Organ in San Francisco. Sextet (1984). Score. Performance. Reich talking about trying to get "a different kind of sound" out of percussion. Musicians respond to a question on interpreting this kind of music. Applause. Reich talking about public response to his music. How Reich came to compose Vermont Counterpoint (1982). Ransom Wilson playing the piece. Reich VO on how it’s done. Wilson talking about the difficulties of the recording session, and how all the parts of one section had to be recorded again when Reich decided to change one of the instruments. Reich with his wife Beryl Korot; his VO talking about how they met, about her art work, about the tensions of family against professional life. New York at night; The Desert Music (1984) playing over. Tilson Thomas talking about this work and the subtleties required in conducting it. Reich on the political content of some of his work, which can only come out if the music succeeds. Credits
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
Steve Reich. A new musical language - ACE169.4
No full textNotation for Clapping Music (1972). Reich describes how this piece came about. Performance. Score for Music for Pieces of Wood (1973) which Reich describes as an extension of Clapping Music. Performance. Reich talking about the "rhythmic ambiguity" of his chamber music, and the difficulties it posed for the musicians. Music for Pieces of Wood. His solution is to have "multiple candidates for the down beat". Reich at the piano; VO talking about how he composes. Score in progress. Trying out xylophone against tape
Steve Reich. A new musical language - ACE169.7
No full textReich with his wife Beryl Korot; his VO talking about how they met, about her art work, about the tensions of family against professional life. New York at night; The Desert Music (1984) playing over. Tilson Thomas talking about this work and the subtleties required in conducting it. Reich on the political content of some of his work, which can only come out if the music succeeds. Credits
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