Finite data performance of MUSIC and minimum norm methods

In the direction of arrival (DOA) estimation problem, we encounter both finite data and insufficient knowledge of array characterization. It is therefore important to study how subspace-based methods perform in such conditions. We analyze the finite data performance of the multiple signal classification (MUSIC) and minimum norm (min. norm) methods in the presence of sensor gain and phase errors, and derive expressions for the mean square error (MSE) in the DOA estimates. These expressions are first derived assuming an arbitrary array and then simplified for the special case of an uniform linear array with isotropic sensors. When they are further simplified for the case of finite data only and sensor errors only, they reduce to the recent results given in [9-12]. Computer simulations are used to verify the closeness between the predicted and simulated values of the MSE.

Music and symbolic dynamics: the science behind an art

Music signals comprise of atomic notes drawn from a musical scale. The creation of musical sequences often involves splicing the notes in a constrained way resulting in aesthetically appealing patterns. We develop an approach for music signal representation based on symbolic dynamics by translating the lexicographic rules over a musical scale to constraints on a Markov chain. This source representation is useful for machine based music synthesis, in a way, similar to a musician producing original music. In order to mathematically quantify user listening experience, we study the correlation between the max-entropic rate of a musical scale and the subjective aesthetic component. We present our analysis with examples from the south Indian classical music system.

Particle size, morphology and color tunable ZnO:Eu3+ nanophosphors via plant latex mediated green combustion synthesis

Efficient ZnO:Eu3+ (1-11 mol%) nanophosphors were prepared for the first time by green synthesis route using Euphorbia tirucalli plant latex. The final products were well characterized by powder X-ray diffraction (PXRD), scanning electron microscopy (SEM), transmission electron microscopy (TEM), UV-visible spectroscopy (UV-Vis), Fourier transform infrared spectroscopy (FTIR), etc. The average particle size of ZnO:Eu3+ (7 mol%) was found to be in the range 27-47 nm. With increase of plant latex, the particle size was reduced and porous structure was converted to spherical shaped particles. Photoluminescence (PL) spectra indicated that the peaks situated at similar to 590, 615, 648 and 702 nm were attributed to the D-5(0) -> F-7(j(j=1,2,3,4)) transitions of Eu3+ ions. The highest PL intensity was recorded for 7 mol% with Eu3+ ions and 26 ml plant latex concentration. The PL intensity increases with increase of plant latex concentration up to 30 ml and there after it decreases. The phosphor prepared by this method show spherical shaped particles, excellent chromaticity co-ordinates in the white light region which was highly useful for WLED's. Further, present method was reliable, environmentally friendly and alternative to economical routes. (c) 2013 Elsevier B.V. All rights reserved.

Charge and color breaking constraints in MSSM after the Higgs discovery at LHC

We revisit the constraints on the parameter space of the Minimal Supersymmetric Standard Model (MSSM), from charge and color breaking minima in the light of information on the Higgs from the LHC so far. We study the behavior of the scalar potential keeping two light sfermion fields along with the Higgs in the pMSSM framework and analyze the stability of the vacuum. We find that for lightest stops a parts per thousand(2) 1 TeV and small mu a parts per thousand(2) 500 GeV, the absolute stability of the potential can be attained only for . The bounds become stronger for larger values of the mu parameter. Note that this is approximately the value of Xt which maximizes the Higgs mass. Our bounds on the low scale MSSM parameters are more stringent than those reported earlier in literature. We reanalyze the stau sector as well, keeping both staus. We study the connections between the observed Higgs rates and vacuum (meta)stability. We show how a precision study of the ratio of signal strengths, (mu (gamma gamma) /mu (ZZ) ) can shed further light.

Differential cognitive responses to guqin music and piano music in Chinese subjects: an event-related potential study

目的 研究古琴(一种古老的中国乐器)和钢琴音乐对认知的影响.方法 记录和分析了中国被试在两种音乐背景(古琴音乐,钢琴音乐)下完成听觉oddball任务的行为和事件相关电位(event-related potential,ERP)数据.结果 中国被试在本土文化的音乐环境(古琴音乐)下,前额区诱导出更大的P300,这一结果和已有的相关研究是相符的.同时,不同音乐背景对ERP产生的影响在N1和LPC(包括P300和P500)上也表现出差别:中国被试在古琴音乐背景下比钢琴音乐背景下表现出更多的右前侧颞叶的参与.结论 因为古琴音乐的五声调式和汉语发音的音调具有对应关系,因此我们推断在古琴音乐下所表现出的这种特性与被试的汉语环境有关.

Fluorene-Based Copolymers Containing Dinaphtho-s-indacene as New Building Blocks for High-Efficiency and Color-Stable Blue LEDs

By incorporating a new building block, 7,7,15,15-tetraoctyldinaphtho-s-indacene (NSI), into the backbone of poly(9,9-dioctylfluorene) (PFO), a novel series of blue light-emitting copolymers (PFO-NSI) have been developed. The insertion of the NSI unit into the PFO backbone leads to the increase of local effective conjugation length, to form low-energy fluorene-NSI-fluorene (FNF) segments that serve as exciton trapping sites, to which the energy transfers from the high-energy PFO segments. This causes these copolymers to show red-shifted emissions compared with PFO, with a high efficiency and good color stability and purity. The best device performance with a luminance efficiency of 3.43 cd . A(-1), a maximum brightness of 6 539 cd . m(-2) and CIE coordinates of (0.152, 0.164) was achieved.

Totality of experience: sound, music and mythology in Gus Van Sant’s “Death Quartet”

Reflecting on Gus Van Sant’s films Gerry (2003) Elephant (2004) and Last Days (2005), the director’s long-term sound-designer Leslie Shatz observed that “You have to get into the totality of the experience and not just the dialogue”. Shatz’s comment expresses something fundamental about the experimental approach to cinema and to soundscapes undertaken by Van Sant in these three films, unofficially known as the “Death Trilogy”. This thesis contends that Van Sant makes deliberate aesthetic choices which do indicate a distinctly “auteurist” leaning. However, I also argue that intertextual elements, prior knowledge, and audience participation in meaningmaking enhance the experience of, and reveal the nuances in, the soundtracks themselves. This thesis aims to contribute to a growing body of work within filmmusic scholarship concerned with resisting a traditional bias in the field: that film music should be understood as a means of characterisation and as emotional signifier. The films of the “Death Quartet”, which includes Paranoid Park (2007), I believe, offer fertile ground on which to explore these new approaches. It is my contention that these films deconstruct the traditional approach to soundtracking and the relationship between soundtrack and character, and that only an approach sensitive to the aesthetic and philosophical functions of music and sound can adequately acknowledge their unique cinematic qualities.

INNOVATIONS IN FRENCH CHAMBER MUSIC AND MÉLODIE (1886 – 1962) – A COLLABORATIVE PIANIST’S PERSPECTIVE

French chamber music in the last quarter of the nineteenth century displayed significant advances in musical innovations and technical developments. As the Parisian public began to favor instrumental music and mélodie over opera, vocal and chamber music with piano became one of the main genres to express French composers’ creativity and individuality. The composers Franck, Debussy, Fauré, Duparc, Ravel, Chausson and Poulenc were the major contributors to this unusually creative period in French music. French mélodies of this period blend precision with lyricism, and demand the performer’s elegance and wit. They show careful settings of the French language’s rhythmic subtleties and increased expressiveness in and importance of the piano accompaniment. The chamber works of this period demanded superior pianistic and instrumental virtuosity while displaying wide ranges of sonority, multiple tone colors, and rhythmic fluidity. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on 27 October 2006, All Nations Mission Church (Dayton, NJ) on 5 December 2009, and the Leah M. Smith Lecture Hall of the University of Maryland on 11 May 2010. The repertoire included Poulenc’s Sonata for Oboe and Piano (1962) with oboist Yeongsu Kim, French mélodies by Fauré, Chausson, Debussy, Ravel and Duparc with soprano Jung-A Lee and baritone Hyun-Oh Shin, Poulenc’s Sextet for Piano, Flute, Oboe, Clarinet, Bassoon and Horn (1932-1939) with flutist Katrina Smith, clarinetist Jihoon Chang, bassoonist Erich Heckscher, hornist Heidi Littman and oboist Yeongsu Kim, Debussy’s Sonata for Cello and Piano (1915) with cellist Ji-Sook Shin, Poulenc’s Sonata for Violin and Piano (1942-1949) with violinist Ji-Hee Lim, Franck’s Sonata for Violin and Piano (1886) with violinist Na-Young Cho, Ravel’s Piano Trio (1915) with cellist Ji-Sook Shin and violinist Yu-Jeong Lee and Ravel’s Sonata for Violin and Piano (1927) with violinist Yu-Jeong Lee. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

LUCIANO BERIO’S NATURALE: A STORY COMBINING FOLK MUSIC AND ART MUSIC

The study of a score by a serious performer is a fundamental step in the process of arriving at a knowledgeable and deeply informed approach to performing a piece of music. In order to obtain this knowledge numerous aspects of the score must be taken into consideration. It is the intent of this dissertation to gather and analyze the information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. All the aspects surrounding Naturale’s existence are taken into consideration in this study. First, it is important to reflect on Berio’s compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of Sicilian folk music itself, and the sources used by Berio to find the songs by which he was inspired. The work is examined section by section with figures showing both excerpts of Naturale as well as the original songs with their translations. An analysis containing harmonic, thematic and formal aspects of the score was developed in order to arrive at a better understanding of the structure and pacing of the piece. For this research the author went to Italy to conduct an interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed. This interview helped in the discovery of two more songs used by Berio that have not to this point been identified in any other document. Bennici’s outstanding testimony portrayed the expressive character of this music and the evocative imagery behind this score. I hope to bring this knowledge to other performers, that they may fully understand and appreciate the unique beauty and power of Berio’s Naturale.