1,721,389 research outputs found
Unpacking the Box in Frescobaldi’s Ricercari of 1615
No full textIntroduction
[1] “Unpacking the box” means first composing a four-part progression and then extracting voices to be sounded imitatively. The first explicit appearance of the concept is in Burmeister (1606). Our presentation focuses on a collection of “cadences” included by Diruta in Il Transilvano (1609). These cadences repay close study, for they show how a progression can contain contrapuntal ideas of a high degree of sophistication: the four voices provide all the material needed for making a point of imitation, with several lines in invertible counterpoint and imitation. Diruta’s schemata constitute only a first step for learning this technique through improvisation. Examples from Frescobaldi’s music reveal how he might have used this didactic method as a basis for a ricercar. However, a skilled composer such as he was would go far beyond Diruta, recombining themes at different time intervals, varying melodies through inganno and other techniques.
[2] Diruta’s examples provide a set of refined compositional tools, with almost no verbal explanation. The young organ student would have had to spend many hours of practice on these cadences to remember the four melodies, to be able to recombine them in their various transpositions, and to shorten them if needed. In other words, the student would have to feel comfortable handling the “box.” Our presentation recreates a learning session, with the maestro explaining the art of counterpoint and his student realizing it at the keyboard.
[3] The instrument heard in this video is an important musical personality in its own right. It was built in Italy during the seventeenth century by an anonymous maker and bears the signature “F.A. 1677” on its lowest key. Typical of many Italian harpsichords of the time of Frescobaldi, the keyboard has a range of four octaves (short octave C/E to c''') and the instrument has two 8-foot registers. It is not known where it passed the 17th and 18th centuries, but at some point it crossed the Atlantic. It was found in an antique shop in Cambridge Mass. in the early 1950s, by Frank Hubbard and William Dowd (then partners) who restored it in their newly founded shop there. Frank Hubbard made drawings of it during the restoration which served as Plates I through III of his ground-breaking book, Three Centuries of Harpsichord Making (Hubbard 1965). It was acquired by Kenneth Gilbert in 1965 and spent some years in Montreal before going to Europe where it was housed in Chartres Museum; it was used many times during its tenure there for commercial recordings. Legend has it that it once belonged to James McNeill Whistler, who painted it several times, once with his famous Mother; there are also the Whistler dragonflies on the outer case. It has just recently arrived at McGill as part of the Kenneth Gilbert Harpsichord Collection. Hearing Frescobaldi’s music on a contemporary artifact tuned in quarter comma meantone temperament is about as close as we can get to hearing a recording made in the 17th century–it opens a window on a long-lost and fascinating soundscape. The instrument and this short history are courtesy of Kenneth Gilbert
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Full text linkWe 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
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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