1,720,959 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
'n Historiese perspektief op musikale ontlening met spesifieke verwysing na tematiek in die vrye orrelwerke van Buxtehude en Bach
Get PDFThesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in.
Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C.
In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan.
In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is.SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past.
The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC.
This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology.Doctora
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
Die Psalmboek 2003 as kommunikasiemiddel in die liturgie van die erediens in die Gereformeerde Kerke in Suid-Afrika : 'n himnologiese studie
Get PDFThesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2009.During services of the Reformed Churches of South Africa (RCSA), certain psalms and Biblical hymns are used frequently, while others are almost never used. The objective of this study is to determine how the Psalter of 2003 can be used optimally. The model of Zerfass is used for the investigation. The final results of the study are presented in the form of a model that can enrich the optimal use of the Psalter 2003 as means of communication in the liturgy of the RCSA. In Chapters 2 and 3, a basic-theoretical investigation is conducted, with reference to perspectives from Scripture and history. The investigation reveals that music and songs had already played an important role in the church of the Old Testament, and that the Psalms had had a significant influence on the liturgy and the faith. In the New Testament, new hymns are found that supplement those from the Old Testament. The form in which these hymns were composed, was closely connected to the context whence these songs arose. The communication that a hymn effects, is achieved jointly by word and music, in the church of the New Testament and subsequently. Since the Reformation, a degree of separation arose between the songs used in the church and outside, but mutual influences are observed. In Chapters 4 and 5, attention is paid to metatheoretical perspectives, first in communication science, then in hymnology. It is in their singing that the congregation participates in the worship of a church service. Such singing is indeed the basic form of participation, which promotes communication among members of the congregation. In judging a metrical version of a Psalm, attention should especially be paid to the content, style of the text and the melody. In the empirical investigation, qualitative and quantitative methods are used. The investigation proceeds in three phases. In the first phase, information is obtained about the hymns that were sung in a number of congregations in the course of a year. In the second phase, a questionnaire was set and sent to ministers, organists and members of congregations. In the final phase, interviews were conducted with ministers and organists from five congregations. The data show that the hymn occupies an important place in the liturgy. However, the investigation reveals that this point of departure is not fully realised in practice, and some shortcomings are identified. In particular, there is a need for extension of the hymnody, especially by hymns from the New Testament. In Chapter 7, an indication is given of the factors that constrain the optimal use of the Psalter 2003 as means of worship in the church service. The most important problems are: • the incomplete utilisation of the full collection of hymns in the Psalter, • the underuse of the 2001 metrical version, • the repeated use of a small subset of hymns, • problems with the melodies and liturgical usefulness, • limitations in the training of ministers and organists, • resistance to the 2001 metrical version, • a lack of proper programmes to practice the new hymns, and • inadequate support and encouragement by church councils in respect of improving the skills of organists. In view of these problems, a model is proposed, which identifies the relationships among the role players / elements necessary to promote worshipping through singing: • the users of the Psalter 2001, viz. Ministers, organists and members of the congregations, together with the role of the church council, • the Psalter 2003 as hymn book, and • the possible extension of the current corpus of hymns.Doctora
Robert Fuchs as Kleinmeister with specific reference to developing variation in his Piano Trio, Op. 22
Get PDFPhD (Music Performance), North-West University, Potchefstroom Campus, 2015In accordance with the notion of the so-called “new musicology” that musicological studies should steer away from the canon of masterpieces, this study concentrates on Robert Fuchs as an example of a Kleinmeister. His Piano Trio in C major, Op. 22, is a demonstration of developing variation, a term coined by Arnold Schoenberg to refer to the technique of motivic development within a musical composition as a whole. According to Schoenberg, the music of Johannes Brahms illustrates the most advanced manifestation of developing variation in that he often starts to develop his motives from the very opening of a piece. The technique of developing variation became one solution to the key problem composers faced in the later nineteenth century, namely how to create large forms from very concise thematic material. The purpose of this study is, firstly, to describe the concept of developing variation, providing** a historical perspective with specific reference to Brahms, and, secondly, to trace the manifestation of developing variation in Robert Fuchs‟s Piano Trio in C major, Op. 22, a work which Fuchs dedicated to Brahms. The empirical section of this study shows that the characteristic feature of the germ cell (G-A-G) that appears at the beginning of this composition, namely a movement away from and a return to the point of departure, manifests on micro- (motivic), meso- (thematic), and macro- (structural) level. On micro-level the germ cell grows teleologically by means of metric displacement, rhythmic changes, augmentation, diminution, intervallic expansion, inversion, retrograde, retrograde inversion, extension, sequential treatment, liquidation and further derivatives of the germ cell until a large form is created: a four-movement work for three instruments. This study also demonstrates how the shape of the germ cell can be found in larger structures as themes and the overall structure of each of the four movements.Doctora
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